Irish Plays and Playwrights | Page 5

inevitably into these pages from time to time, is a poet with as sure a place in English literature to-day as has Mrs. Meynell. Beginning, like Mr. Yeats, as an imitator of the Pre-Raphaelites, Mrs. Hinkson found herself in little poems on moods of her own and moods of landscape She writes also of her love of God, of St. Francis, and of Ireland. "Moira O'Neill" (Mrs. Skrine), too, has a sure place, her verses crying out her homesickness for Ireland, and redolent, every line of them, of the countryside. "The Passing of the Gael" is known wherever there are Irish emigrants, but there are other verses of "Ethna Carberry" (Mrs. Anna Johnstone MacManus) that are as fine as this. Mrs. Dora Sigerson Shorter is a balladist of stark power, and Miss Eva Gore-Booth a lyric poet whose natural lilt no preoccupation with mysticism can for more than a moment obscure.
Mr. Herbert Trench has of recent years surrendered to theatrical management, but there is to his credit a substantial accomplishment of lyrical verse that George Meredith would have approved. Mr. Colum's verse I have spoken of below, incidentally, in considering his plays. A distinct talent, too, is Mr. Seumas O'Sullivan's, whose "Twilight People" (1905) indicates by its title the quality of his verse.
I have mentioned all these writers, some known in America, but others utterly unknown, not only to indicate the relation of the drama to the other literary forms of the Renaissance, but to account, perhaps in some measure, for the literary quality of the plays themselves. They are written, as plays in English during the past century have too seldom been written, by writers who have read widely in all forms of literature and to whom words are, if not "the only good," at least a chief good. Mr. Russell and Mr. Yeats have sent all the younger men who would write to the masterpieces of the world, telling them to get what they need of the technique of the centre, to know the best in the world, but to write of the ground under their feet. The plays are, as I have said, written, many of them, by men who are widely read, and by men whose friends are writers of some other form of literature, by men who wish their work in drama to be of as high intention as the work of their friends who are poets or essayists or writers of stories. All the other writing the Renaissance has, then, contributed to make of the drama what it is, and one must, if one would see the drama in relation to the Ireland of our day, know what is the accomplishment of the other sorts of writing of the Renaissance.
CHAPTER II
THE PLAYERS AND THEIR PLAYS, THEIR AUDIENCE AND THEIR ART
The drama of the Celtic Renaissance is of an ancestry as mixed as is that of the people of Ireland themselves. There is less in it perhaps of the Gael than in them, for Gaelic literature, until to-day, never approached nearer to the drama than the dialogue, the racy give-and-take of two characters, alike of lively imagination, whether gentle or simple. But even had the colloquies of St. Patrick and Oisin, of Dean Swift and his man Jack, of the Lout and his Mother, been developed, by 1890, to a drama as finished as that of Congreve or Goldsmith, Sheridan or Wilde, those who would have their plays abreast of our time would have gone, just as, with the conditions as they are, the dramatists of the Renaissance did go, to Ibsen and M. Maeterlinck, like all the rest of the world. It is a matter of reproach, in the estimation of many patriotic Irishmen, that Mr. Martyn learned his art of Ibsen, and Mr. Yeats a part of his of M. Maeterlinck, but that attitude is as unreasonable as that which would reproach the Irish Industries Organization Society for studying Danish dairy farms or Belgian chickeries. It is only the technique of the foreigners, modern or ancient, Scandinavian or Greek, that the Abbey dramatists have acquired or have adapted to Irish usage. Stories are world-wide, of course, the folk-tale told by the Derry hearthside being told also in the tent in Turkestan--Cuchulain kills his son as Rustum does, and the Queen of Fairy lures Bran oversea as Venus lures Tannh?user to the H?rselberg. It is in character, in ideals, in atmosphere, in color, that drama must be native, and in color and in atmosphere, in ideals and in character the Abbey Theatre drama is Irish. Reading of life and style are personal qualities, qualities of the artist himself, though they, too, may take tone and color from national life, and in the drama of many of the Abbey dramatists they do. These dramatists have