Appendix I GENERAL NOTES

The Pronunciation of the Irish Words. 6, 7, 18, 31, 49, 51, 52,61, 62,66, 67, 72, 74, 78, 80. When I wrote the greater number of these poems I had hardly considered the question seriously. I copied at times somebody's perhaps fanciful phonetic spelling, and at times the ancient spelling as I found it in some literal translation, pronouncing the words always as they were spelt. I do not suppose I would have defended this system at any time, but I do not yet know what system to adopt. The modern pronounciation, which is usually followed by those who spell the words phonetically, is certainly unlike the pronunciation of the time when classical Irish literature was written, and, so far as I know, no Irish scholar who writes in English or French has made that minute examination of the way the names come into the rhythms and measures of the old poems which can alone discover the old pronunciation. A French Celtic scholar gave me the pronunciation of a few names, and told me that Mr. Whitley Stokes had written something about the subject in German, but I am ignorant of German. If I ever learn the old pro• nunciation, I will revise all these poems, but at present I can only affirm that I have not treated my Irish names as badly as the mediaeval writers of the stories of King Arthur treated their Welsh names. In the following glossary [see pp. 1284-7] I give the old spelling in parentheses wherever I have adopted somebody's phonetic spelling in the poems. The glossary is very inadequate, but I have written of many of the things it speaks of at some length in the notes to The Wind Among the Reeds. 6, 7. The . .. Words. When ... treated their Welsh names. 18-51, 61-74. The ... Words. When ... pronunciation of a few names, and I understand that Mr. Whitley Stokes ... subject in German. If I ever learn the old pronunciation, I may revise these poems, ... \Velsh names. 52. The ... Words. When ... always as they were spelt. I can only affirm that I did not even in my youth treat Irish names as badly as the mediaeval writers ... Welsh names. 78, 80.

* * *

The Legendary and Mythological Foundation of the Plays and Poems Almost every story I have used or person I have spoken of is in one or other of 's 'Gods and Fighting Men' and 'Cuchulain of Muirthemne.' If my present small Dublin audience for poetical drama grows and spreads beyond Dublin, I shall owe it to these two books, master• pieces of prose, which can but make the old stories as familiar to Irishmen

1282 APPENDIX I everywhere as are the ~tories of Arthur and his knights to all readers of books. I cannot believe that it is from friendship that I weigh these books with Mallory and feel no discontent at the tally, or that it is the wish to make the circumstantial origin of my own art familiar, that would make me give them before all other books to Irish boys and girls. I wrote for the most part before they were written, but all or all but all is there, Oisin wandering, Cuchulain killing his son and fighting the sea, Maeve and her children, Baile and Aillin, Angus and his fellow-immortals, all literally translated, though with much condensation and selection, from the old writings. A few of my stories are not hers also. I took the story of 'The Ballad of the Old Fox Hunter' from 'Knocknagow,' and the story of 'The Ballad of Father Hart' from a Sligo county history; that of 'The Ballad of Moll Magee' from a sermon preached in the chapel at Howth if I remember rightly, that of '' from a story told as Irish by Leo Lespes in 'Les Matinees de Timothe Trimm,'-there is a Donegal story resembling it in its principal incident in Larmonie's 'West Irish Folk Tales,'-and the story of the 'King's Threshold' from a middle Irish account of the fantastic demands of the poet at the court of King Guaire; but I have revised the moral of this last story to let the poet have the best of it. One of my fellow• playwrights is going, I have good hope, to take the other side and make a play that can be played it, as in Greece the farce followed the tragedy. 'The Shadowy \'Vaters' and 'The Land of Heart's Desire' have a good deal of incidental Irish folklore and mythology but are not founded on any particular story. Here and there, specially in 'The Wind among the Reeds,' I have used fragments of ancient mythology common to all lands. 'The Deer with no Horns' and the 'Flying Fawn' are certainly Irish symbols of the desire of the man which is for the woman, and the desire of the woman which is for the desire of the man, as Coleridge said; but it is only the speculation of Celtic scholars that makes the 'Death-pale Deer' and 'The Boar without Bristles' not mere creatures of romance, but symbols of the end of all things. For a long time symbols of this kind had for me a very intense, a very personal impoctance, and they are too much woven into the fabric of my work for me to give a detailed account of them one by one. Appendix I, 28, 48. * * *

The Legendary and Mythological Foundation of the Plays 'rile greater number of the stories I have used, and persons I have spoken of, are in Lady Gregory's Gods and Fighting Men and Cuchulain of Muirthemne. If my small Dublin audience for poetical drama grows to any size, whether now or at some future time, I shall owe it to these two books, masterpieces of prose, which can but make the old stories as familiar to Irishmen at anyrate APPENDIX I as are the stories of Arthur and his Knights to all readers of books. I cannot believe that it is from friendship that I weigh these books with MaIoI)', and feel no discontent at the tally, or that it is the wish to make the substantial origin of my own art familiar, that would make me give them before all other books to young men and girls in Ireland. I wrote for the most part before they were written, but all, or all but all, is there. I took the Aengus and Edain of The Shadowy Waters from poor translations of the various Aengus stories, which, new translated by Lady Gregory, make up so much of what is most beautiful in both her books. They had, however, so completely become a part of my own thought that in 1897, when I was still working on an early version of The Shadowy Waters, I saw one nigit with my bodily eyes, as it seemed, two beautiful persons, who would, I believe, have answered to their names. The plot of the play itself h~s, how• ever, no definite old story for its foundation, but was woven to a very great extent out of certain visionary experiences. The foundations of Deirdre and of On Baile's Strand are stories called respectively the 'Fate of the Sons of Usnach' and 'The Son of Aoife' in Cuchulain of Muirthemne. The King's Threshold is, however, founded upon a middle-Irish story of the demands of the poets at the Court of King Guaire of Gort, but I have twisted it about and revised its moral that the poet might have the best of it . It owes something to a play on the same subject by myoid friend Edwin Ellis, who heard the story from me and wrote of it long ago. Appendix 111,32. The greater ... all, is there. The foundations of Deirdre . .. Muirthemne. The Green Helmet is founded upon an old Irish story, The Feast of Bricriu, given in that work also, and is meant as an introduction to On Baile's Strand. The King's Threshold is founded ... friend Mr. Edwin ... ago. I took the Aengus·... answered to those names. The plot ... experiences. The Hour-Glass is founded upon a story-The Priest's Soul-recorded by Lady Wilde in Ancient Legends of Ireland, 1887, vol. i, pp. 60-67. Notes, 45. The greater ... any rate ... make the circumsubstantial origins [follows the version in 45 with the following, exceptions:] ... saw one night standing at my bedside, as it seemed, two. . believed, have answered ... certain dream experiences. • The foundations ..., pp. 60-67. Notes, 69.

Glossary Adene. Adene was a famous legendary queen who went away from the world and dwelt among the 'shee,' as the fairies are called in the old poems and in contemporary folk lore. 3; Adene.-Adene was a famous legendary

I This passage about 'The Shadowy Waters' follows 'The greater .. , all, is there.' in 31t. APPENDIX I 1285 queen who went away and lived among the Shee. 5; Adene (Etainr.--A famous legendary queen who was lured away by Meder, (Mider ,) King of the Shee. 6, ,. Angus.-The god of youth, beauty, and poetry. He reigned in Timan• Oge, the country of the young. 5; Angus (Aengus).-The .... 6". Ardroe.-A Ballyshannon faery ruler. 5; Ardroe (Aedh Ruadh).-A .... 6. Balor.-The Irish Chimaera, th.e leader of the hosts of darkness at the great battle of good and evil, life and death, light and darkness, which was fought out on the strands of Moytura, near Sligo. 5-'. Barach.-Barach enticed Fergus away to a feast, that the sons of Usna might be killed in his absence. Fergus had made an oath never to refuse a feast from him, and so was compelled to go, though all unwillingly. 5; Barach (Borrach).-Barach ... go, though unwilling. (unwillingly. ,) 6, ,. Bonyeen. A 'bonyeen, is a little pig. 3; Bonyeen.-A little pig. 5-', 18, 31. Brig or Brigit.-The goddess of spring, whether in the fields and woods or in the mind of the poet. ,. Gailitin.-The Druid Cailitin and his sons warred upon Cuhoollin with magical arts. 5-" Glauber is a Sligo word for thick and clinging mud. 3; Clauber.-A Sligo word for clinging mud. 5-', 18, 31. Gonhor or Goncobar.-He was King of all Ireland in the time of the Red Branch kings. 5; Gonhor (Concobar).-He .... 6, ,. Guhoollin.-The great hero of the Red Branch cycle. 5; Cuhoollin (Guchul• lainn).-The .... 6, ,. Danaan. 'Danaan' is a common abbreviation of Tuatha-de-Danaan, the name of the gods of Celtic Ireland in old days, and of the fairies in medieval literature, and modern folk lore. 3; Danaan.-See Tuath De Danaan. 5-'. Dectera.-The mother of Cuhoollin. 5; Dectera (Dechtere).-The .... 6, ,. Deirdre.-The heroine of the most tender (pathetic,) of old Gaelic stories. She was loved by Concobar, but fled from him with Naisi, only to be re• captured by treachery. She is the sad and beautiful woman of the Red Branch cycle, just as Grania is the sad and beautiful woman of the Fenian cycle. 5-" Emen. The capital of the Red Branch kings. 5; Emen (Emhain).-The chief town of .... 6, ,. Feacra.-A sea faery. 5; Feacra.-An ancient hero, now, I think, a sea faery. 6, ,. The Fenians.-The great military order of which Finn was chief. 5-'. Fergus. Fergus, poet of the Conorian age, had been king of all Ireland, but gave up his throne that he might live at peace hunting in the forest. 3 ; Fergus.-He was the poet of the Red Branch cycle as Usheen (Oisin 6, ,) was of the Fenian. He was once King of all Ireland, but gave (Ireland, and, as the legend is shaped by Ferguson, gave 6, ,) up his throne that ... the woods. 5-'. Fin (Fion).-A very famous hero, and chief of the heroes of Ireland in his time. 6, ,. 1286 APPENDIX I Fillvarra.--The king of the faeries of Connaught. 5-7, 18, 31; Finvarra (Finbar).-The . ... 49,51,61,62,66,67,72,74. Fomoroh.-Fomoroh means from under the sea, and is the name of the gods of night and death and cold. The Fomoroh were misshapen and had now the heads of goats and bulls, and now but one leg, and one arm that came out of the middle of their breasts. They were the ancestors of the evil faeries and, according to one Gaelic "'.Titer, of all misshapen persons. The giants and the leprecauns are expressly mentioned as of the Fomoroh. 5; Fomoroh (Fomori or Fomoraig).-. .. cold. The Fomoroh are often described as misshapen, now with the heads ... now with but ... as of them. 6, 7. Horned Owl. The horned owl is associated in popular belief with evil fairies. 3 . •VIaive.-A famous queen of the Red Branch cycle. She is rumoured to be buried under the cairn on Knocknarea. Ferguson speaks of 'the shell• heaped cairn of Maive high up on haunted Knocknarea,' but inaccurately, for the cairn is of stones. 5; Alaive (Medb).-A ... Knocknarea,' but the cairn .... 6, 7. lVIythological Gods and Heroes.-I refer the reader for such names as Balor and Finn and Oisin to Lady Gregory's 'Cuchulain of Muirthemne' and to her 'Gods and Fighting Men.' 18,31 ; Jl;Iythological ... Usheen ... .' 49, 51, 61, 62, 66, 67, 72, 74. Naisi.-The lover of Deirdre. He was treacherously killed by Concobar. 5; Naisi (Naoise).-The .... 6,7, Nuala.-The wife of Finvarra. 5-7, 18,31,49,51,61,62,66,67,72,74. Oisin. Oisin, the poet of the Finian age, and son to Fin-rna-cool, crossed the sea on an enchanted horse with Niam, his fairy bride, and lived three hundred years in Tier-nan-oge, or fairyland. 3; Oisin.-The poet of the Fenian cycle oflegend, as Fergus was the poet of the Red Branch cycle. 6, 7. [see U sheen] Orchil.-A Fomorian sorceress. 5; Orchil.---A Fomoroh and a sorceress, if I remember rightly. I forget whatever J may have once known about her. 6, 7. Pooka. The Pooka is a spirit that rarely takes human form, but appears commonly as a bull, horse, goat, eagle, or ass. 3 ; Pooka.-A spirit which takes the form now of a dog, now of a horse, now of an ass, now of an eagle. 5, 18, 31; Pooka (Puca).-A spirit [as 5J. 6, 7. Red Branch. 'Red Branch' was the name of the circle of warriors who preceded the Finian circle by about two hundred years, according to bardic chronology, and gathered round 'Concobar' or 'Conor,' as the later circle gathered round Fin. 3. Shannachus. 'Shannachus' is a Gaelic word meaning 'stories.' It is, or was a common wo~d among the peasantry, both Gaelic and English speaking. 3; Shannachus.-A Gaelic word for stories, which is common even among the English-speaking peasantry. 5; Shallnachus (Seanachus).-A Gaelic [as 5]. 6, 7, 18, 31. APPENDIX I Shee.-The Shee are the faery people. The word is said to mean also the wind. 5; Shee (Sidhe).-The ... word means also .... 6, ,. Sheogue. A 'sheogue' is a diminutive, and means 'a little fairy.' 3; Sheogue.--A diminutive ofShee, meaning a little faery. 5; Sheogue (Sidheog).• A [as 5].6. Sowlth. A formless, luminous apparition. (phantom. 5) 3, 5; Sowlth.• A ... phantom for which Father O'Hanlon was, I think, my authority. 6. Sualtam.-The father of Cuhoollin. 5-'. Tevish. A 'tevish' is an earth-bound and earth-wandering ghost. 3; Thivish.-An earth-bound .... 5; Thivish (Taibhse).-An earth-bound ... ghost, or so I thought. 6. Tuath De Danaan.-Tuath De Danaan means the Race of the Gods of Dana. Dana w.as the mother of all the ancient gods of Ireland. They were the powers oflight and life and warmth, and did battle with the Fomoroh, or powers of night and death and cold. Robbed of offerings and honour, they have gradually dwindled in {he popular imagination until they have become the Faeries. 5; ... Dana. They were ... become Faeries. 6, ,. Usheen.-The poet of the Fenian cycle of legend, as Fergus was the poet of the Red Branch cycle. 5. [see Oisin] Usna.-The father of Naisi, the lover, and Ardan and Anly, the friends of Deirdre. Deirdre's beautiful lament over their bodies has been finely translated by Sir Samuel Ferguson. 5; Usna (Usnach).-The ... Ainle, the .... 6".

V.E.P.Y.-2 T Appendix I1 PREFACES AND DEDICATIONS

THESE are from those volumes in the bibliography whose contents, with some exceptions, are primarily plays.

Preface to 3. The greater number of the poems in this book, as also in ',' are founded on Irish tradition. The chief poem is an attempt to mingle personal thought and feeling with the beliefs and customs of Christian Ireland; whereas the longest poem in my earlier book endeavoured to set forth the impress left on my imagination by the Pre-Christian cycle of legends. The Christian cycle being mainly concerned with contending moods and moral motives needed, I thought, a dramatic vehicle. The tumultous and heroic Pagan cycle, on the other hand, having to do with vast and shadowy activities and with the great impersonal emotions, expressed itselfnaturally-or so I imagined-in epic and epic-lyric measures . . No epic method seemed sufficiently minute and subtle for the one, and no dramatic method elastic and all-containing enough for the other. Ireland having a huge body of tradition behind her in the depths of time, will probably draw her deepest literary inspiration from this double fountain• head if she ever, as is the hope of all her children, make for herself a great distinctive poetic literature. She has already many moving songs and ballads which are quite her own. 'The Countess Kathleen,' like 'The Wanderings ofOisin,' is an attempt to unite a more ample method to feeling not less national, Celtic, and distinctive. A number of the 'legends and lyrics' originally appeared in The National Observer, and I have to thank the proprietors for leave to reprint them here. w. B. YEATS. 3· * * *

Prefaces to 5,6,7, 18,31,33,49,51,61,62,66,67,72,74,78,80. This book contains all the writer cares to preserve out of his previous volumes of verse. He has revised, and to a large extent re-written, The Wanderings of Usheen and the lyrics and ballads from the same volume, and expanded and, he hopes, strengthened The Countess Cathleen. He has, however, been compelled to leave unchanged many lines he would have gladly re-written, because his present skill is not great enough to separate them from thoughts and expressions which seem to him worth preserving. He has printed the ballads and lyrics from the same volume as The Wander• ings of Usheen, and two ballads written at the same time, though published later, in a section named Crossways, because in them he tried many path• ways; and those from the same volume as The Countess Cathleen in a section named The Rose, for in them he has found, he believes, the only pathway 1288 APPENDIX II 1289 whereon he can hope to see with his own eyes the Eternal Rose of Beauty and of Peace. W. B. YEATS. Sligo, March 24th, 1895. 5.

The writer revised, and, to a great extent, re-wrote 'The Wanderings of Oisin' and certain lyrics and ballads from the same volume, and revised and expanded 'The Countess Cathleen' for the first edition of this book; and he has still further revised these and other poems for the present edition. Other revisions are necessary, and he hopes to make them when he is further from the mood in which the poems were written, and has more leisure. He has printed the lyrics and ballads written about the same time as 'The Wanderings of Oisin' in a section called 'Crossways,' for in these he tried many pathways; and those written about the same time as 'The Countess Cathleen' in a section called 'The Rose,' for in them he found, as he believes, the only pathway from which he may hope to see beauty and wisdom with his own eyes. This book and The Wind Among the Reeds contain all of his published poetry which he cares to preserve. W.B. YEATS. February 24, 1899. 6.

I have added some passages to 'The Land of Heart's Desire,' and a new scene of some little length, besides passages here and there, to 'The Countess Cathleen.' The goddess has never come to me with her hands so full that I have not found many waste places after I had planted all that she had brought me. The present version of 'The Countess Cathleen' is not quite the version adopted by the Irish Literary Theatre a couple of years ago, for our stage and scenery were capable oflittle; and it may differ still more from any stage version I make in future, for it seems that my people of the waters and my unhappy dead, in the third act, cannot keep their super• natural essence, but must put on too much of our mortality, in any ordinary theatre. I am told that I must abandon a meaning or two and make my merchants carry away the treasure themselves. The act was written long ago, when I had seen so few plays that I took pleasure in stage effects. Indeed, I am not yet certain that a wealthy theatre could not shape it to an impressive pageantry, or that a theatre without any wealth could not lift it out of pageantry into the mind, with a dim curtain, and some dimly robed actors, and the beatified voices that should be as important in poetical as in musical drama. The Elizabethan stage was so little imprisoned iIi material circumstances that the Elizabethan imagination was not strained by god or spirit, nor even by Echo herself-no, not even when she answered, as in 'The Duchess of Malfi,' in clear, loud words which were not the words that had been spoken to her. We have made a prison-house of paint and canvas, where we have as little freedom as under our own roofs, for there is 1290 APPENDIX II no freedom in a house that has been made with hands. All art moves in the cave of the Chimaera, or in the garden of the Hesperedes, or in the more silent house of the gods, and neither cave, nor garden, nor house can show themselves clearly but to the mind's eye. Besides re-writing a lyric or two, I have much enlarged the note on 'The Countess Cathleen,' as there has been some discussion in Ireland about the origin of the story, but the other notes are as they have always been. They are short enough, but I do not think that anybody who knows modern poetry will find obscurities in this book. In any case, I must leave my myths and symbols to explain themselves as the years go by and one poem lights up another, and the stories that friends, and one friend in particular, have gathered for me, or that I have gathered myself in many cottages, find their 'way into the light. I would, if I could, add to that majestic heraldry of the poets, that great and complicated inheritance of images which written literature has substituted for the greater and more complex inheritance of spoken tradition, some new heraldic images, gathered from the lips of the common people. Christianity and the old nature faith have lain down side by side in the cottages, and I would proclaim that peace as loudly as I can among the kingdoms of poetry, where there is no peace that is not joyous, no battle that does not give life instead of death; I may even try to persuade others, in more sober prose, that there can be no language more worthy of poetry and of the meditation of the soul than that which has been made, or can be made, out of a subtlety of desire, an emotion of sacrifice, a delight in order, that are perhaps Christian, and myths and images that mirror the energies of woods and streams, and of their wild creatures. Has any part of that majestic heraldry of the poets had a very different fountain? Is it not the ritual of the marriage of heaven and earth? These details may seem to many unnecessary; but after all one writes poetry for a few careful readers and for a few friends, who will not consider such details very unnecessary. When Cimabue had the cry it was, it seems, worth thinking of those that run, but to-day, when they can write as well as read, one can sit with one's companions under the hedgerow contentedly. If one writes well and has the patience, somebody will come from among the runners and read what one has written quickly, and go away quickly, and write out as much as he can remember in the language of the highway. * * * 'The Wanderings of Oisin' was published with the lyrics now collected under the title 'Crossways' in 1888, 'The Countess Cathleen' with the lyrics now collected under the title 'The Rose' in 18gl, and 'The Land of Heart's Desire' by itself in 18g4. They were revised and reprinted in one volume in 18g5, and again revised and reprinted in 18g8. w. B. YEATS. January, IgOI. 7. I have added some passages ... 1895, again revised ... 18g8, and again reprinted in IgOI and Ig04. May, 1904. 18. APPENDIX II

I have added some passages ... 1895, again revised ... 18g8, and again reprinted in IgOI, Ig04, and Ig08. 3I. The present version of The Countess Cathleen is ... the beautiful voices ... circumstance ... The Duchess of Malji, ... Hesperides, ... eye. Besides . .. The Countess Cathleen, ... other notes· [Yeats's note reads: I have left them out of this edition as Lady Gregory's Cuchulain f)f Muirthemne and Gods and Fighting Nlen have made them unnecessary. When I began to write, the names of the Irish heroes were almost unknown even in Ireland.] are as ... , add to that great and complicated inheritance ... tradition, to that majestic heraldry of the poets some new heraldic images gathered .. earth? These details ... run; but ... highway. January, 1901. w. B. YEATS. The Countess Cathleen. Preface to the Fourth Edition. Appendix, 33.

During the last year I have spent much time altering 'The Countess Cathleen' and 'The Land of Heart's Desire' that they might be a part of the repertory of the . I had written them before I had any practical experience, and I knew from the performance of the one in Dublin in 1899 and of the other in London in 1894 that they were full of defects. But in their new shape-and each play has been twice played during the winter--they have given me some pleasure, and are, I think, easier to play effectively than my later plays, depending less upon the players and more upon the producer, both having been imagined more for variety of stage• picture than variety of mood in the player. It was, indeed, the first per• formance of 'The Countess Cathleen,' when our stage-pictures were made out of poor conventional scenery and hired costumes, that set ~e writing plays where all would depend upon the player. The first two scenes are wholly new, and though I have left the old end in the body of this book I have given in the notes an end less difficult to producer and audience, and there are slight alterations elsewhere in the poem. 'The Land of Heart's Desire,' besides some mending in the details, has been thrown back in time because the metrical speech would have sounded unreal if spoken in a country cottage now that we have so many dialect comedies. The shades of Mrs. Fallan and Mrs. Dillane and of Dan Bourke and the Tramp would have seemed too hoisterous or too vivid for shades made cold and distant with the artifice of verse. I have not again retouched the lyric poems of my youth, fearing some ,tupidity in my middle years, but have changed two or three pages that I always kn~w to be wrong in 'The \Vanderings of Usheen.' w. B. YEATS. Jlwe, 1912. PrifaCl' to the Third Edition. I have added some passages ... language of the highway. w. B. YEATS. January, 190 1. 49-74.

This volume contains what is, I hope, the final text of the poems of my y,)uth; and yet it may not he, seeing that in it are not only the revisions APPENDIX II from my 'Early Poems and Stories,' published last year, but quite new revisions on which my heart is greatly set. One is always cutting out the dead wood. I have enclosed in brackets those passages in 'The Land of Heart's Desire' which are omitted when it is played at the Abbey Theatre, Dublin, and I hope the amateurs, who perform this play more often than any other of mine, will accept my guidance and omit them also. w. B. YEATS. January, 1927. Preface to the Seventh Edition. During the last year [follows the preface in 49-74, immediately above, to 'depend upon the player.'] The first two scenes of the present version of the play are wholly new, [follows 49-74 to 'artifice of verse.' where it ends. The Preface to the Third Edition is omitted.] 78,80. * * *

Dedication to 10, lOa. To Lady Gregory: I offer you a book which is in part your own. Some months ago, when our Irish dramatic movement took its present form, I saw that somebody must write a number of plays in prose if it was to have a good start. I did not know what to do, although I had my dramatic fables ready and a pretty full sketch of one play, for my eyes were troubling me, (me loa) and I thought I could do nothing but verse, which one can carry about in one's head for a long time, and write down, as De Musset put it, with a burnt match. You said I might dictate to you, and we worked in the mornings at Coole, and I never did anything that went so easily and quickly, for when I hesitated, you had the right thought ready, and it was always (was almost always loa) you who gave the right turn to the phrase and gave it the ring of daily life. We finished several plays, of which this is the longest, in so few weeks, that if I were to say how few, (few loa) I do not think anybody would believe me. I have spent a year at a play of no great length, and yet I do not think I could better these plays by taking time over them. We have the pleasure of knowing that our little Irish Theatre has found our work useful. w. B. YEATS. September 19, 1902. 10, loa. Mr. Yeats says in dedicating it [Where There Is Nothing] to me: 'I offer ... quickly; for ... hesitated you ... ready and it was almost always you ... believe me.' Lady Gregory, Our Irish Theatre. New York and London, 1913, pp. 80-81. * * *

[For Dedication to I I see Notes on Cathleen ni Houlihan, p. 232.]

* * * APPENDIX II 1293 Preface to 23 [in part]. 'The Shadowy Waters,' 'The King's Threshold,' and 'On Baile's Strand' are not at all as they were when first printed, for they have been rewritten and rewritten until I feel I can do no better with my present subjects and experiences. I am the least confident about 'The Shadowy Waters,' for it is so unlike what it was when last played that it is a new play, and I have but tried it at rehearsal, and without its scenery and its costumes, and that harp which is to burn with a faint fire. It is to be judged, like all my plays, as part of an attempt to create a national dramatic literature in Ireland, and it takes upon itself its true likeness of a J ack-a-Lantern among more natural and simple things, when set among the plays of my fellow-workers. What I have done is but a form and colour in an elaborate composition, where they have painted the other forms and colours. The extravagance, the joyous irony, the far-flying phantasy, the aristocratic gaiety, the resounding and rushing words of the comedy of the countryside, of the folk as we say, is akin to the elevation of poetry, which can but shrink even to the world's edge from the harsh, cunning, traditionless humour of the towns. I write of the tragic stories told over the fire by people who are in the comedies of my friends, and I never see my work played with theirs that I do not feel that my tragedy heightens their comedy and tragi-comedy, and grows itself more moving and intelligible from being mixed into the circumstance of the world by the circumstantial art of comedy. Nor is it only the stories and the country mind that have made us one school, for we have talked over one another's work so many times, that when a play of mine comes into my memory I cannot always tell how much even of the radical structure I may not owe to the writer of 'The Lost Saint,' or of 'The Shadow of the Glen,' or more than all, to the writer of 'Hyacinth Halvey'; or that I would have written at all in so heady a mood if I did not know that one or the other were at hand to throw a bushel of laughter into the common basket. I have printed the plays and poems in the order of their first publication, but so far as the actual writing of verse is concerned, 'The Shadowy Waters' and 'On Baile's Strand' have been so much rewritten that they are later than 'The King's Threshold.' I have put no explanatory notes to the poems and very few to the plays, for impatient readers do not read even the shortest notes, and the patient would cry out upon an arid summary, for they can read the legends in those strange and beautiful books, canonical with most of us in Ireland now, Lady Gregory's 'Gods and Fighting Men' and 'Cuchulain of Muirthemne.' w. B. YEATS. ; 18 May 1906. * * * Preface to 28, 48. The first two plays in this book were written before I had any adequate knowledge of the stage, but all were written to be played. I have always 1294 APPENDIX II looked upon the play written to be read only as an imperfect form, even for the reader who would find it the more exciting for the vigorous structure, the working to a climax, that had made it hold some fitting audience. A writer of drama must observe the form as carefully as if it were a sonnet, but he must always deny that there is any subject-matter which is ;0 itself dramatic-any especial round of emotion fitted to the stage, or that .1 play has no need to await its audience or to create the interest it lives by. Dramatic art is a method of expression, and neither an hair-breadth escape nor a love affair more befits it than the passionate exposition of the most delicate and strange intuitions; and the dramatist is as free as the painter of good pictures and the writer of good books. All art is passionate, but a flame is not the less flame because we change the candle for a lamp or the lamp for a fire; and all flame is beautiful. A lover is subtle about his mistress's eyebrow, and I have found in Dublin a small audience so much interested in Ireland that they have not com• plained too loudly that my fellow-dramatists at the Abbey Theatre or I myself write of difficult and unfamiliar things. I have chosen all of my themes from Irish legend or Irish history, and my friends have made joyous, extravagant, and, as I am certain, distinguished comedy out of the common life of the villages, or out of a phantasy trained by the contemplation of that life and of the tales told by its firesides. This theatre cannot but be the more interesting to people of other races because it is Irish and, therefore, to some extent, stirred by emotions and thoughts not hitherto expressed in dramatic form, for the arts have always gained by their limitations, and I look forward to a day when a company will carry its plays into other lands,-above all, where there are Irish people,-and when I close my eyes I can see all clearly. It will play principally comedy, for the day of tragedy will return slowly, but of an extravagant, abounding kind that is half poetry; the inspiration of a muse that, although she is a little drunken, her lips still wet from the overflowing cup of life, is ready, as in old days, to abate her voice when her sister has carried a taper among the tombs that she may tell strange stories of the deaths of kings. Above all, for one imagines as one pleases when the eyes are closed, it will be a theatre of speech; the speech of the country-side, the eloquence of poets, of rhythm, of style, of proud, living, unwasted words, and among its players there may be some who can sing like a poet of Languedoc stories and songs where the music shall be as simple as in a sailor's chanty, for I would restore the whole ancient art of passionate speech, and would no more let a singer spoil a word or the poet's rhythm for the musician's sake than I would let an actor who, as Colley Cibber said, 'should be tied to time and tune like a singer,' spoil the poet's rhythm that he might give to a word what seemed to him a greater weight of drama. The labour of two players, Miss Florence Farr and Mr. Frank Fay, have done enough to show that all is possible, if the summer be lucky and the corn ripen. December, 1906. 28. APPENDIX II 1295 The first ... sister carrying a taper among the tombs would tell ... corn ripen. Since I wrote these words I have in the light of what is now a considerable dramatic experience greatly altered 'The Land of Heart's Desire,' and so greatly altered 'The Countess Cathleen' that it is all but a new play. Both plays are now, like the other plays in the book, a part of the repertory of the Abbey Theatre. February, 1912. w. B. YEATS. 48. * * *

Preface to 29. About seven years ago I began to dictate the first of these Plays to Lady Gregory. My eyesight had become so bad that I feared I could henceforth write nothing with my own hands but verses, which, as Theophile Gautier has said, can be written with a burnt match. Our Irish Dramatic movement was just passing out of the hands of English Actors, hired because we knew of no Irish ones, and our little troop of Irish amateurs-as they were at the time-could not have too many Plays, for they would come to nothing without continued playing. Besides, it was exciting to discover, after the unpopularity of blank verse, what one could do with three Plays written in prose and founded on three public interests deliberately chosen,• religion, humour, patriotism. I planned in those days to establish a dramatic movement upon the popular passions, as the ritual of religion is established in the emotions that surround birth and death and marriage, and it was only the coming of the unclassifiable, uncontrollable, capricious, uncom• promising genius of]. M. Synge that altered the direction of the movement and made it individual, critical, and combative. If his had not, some other stone would have blocked up the old way, for the public mind of Ireland, stupefied by prolonged intolerant organisation, can take but brief pleasure in the caprice that is in all art, whatever its subject, and, more commonly, can but hate unaccustomed personal reverie. I had dreamed the subject of 'Cathleen ni Houlihan,' but found when I looked for words that I could not create peasant dialogue that would go nearer to peasant life than the dialogue in 'The Land of Heart's Desire' or 'The Countess Cathleen.' Every artistic form has its own ancestry, and the more elaborate it is, the more is the writer constrained to symbolise rather than to represent life, until perhaps his ladies of fashion are shepherds and shepherdesses, as when Colin Clout came home again. I could not get away, no matter how closely I watched the country life, from images and dreams which had all too royal blood, for they were descended like the thought of every poet from all the conquering dreams of Europe, and I wished to make that high life mix into some rough contemporary life without ceasing to be itself, as so many old books and Plays have mixed it and so few modern, and to do this I added another knowledge to my own. Lady 12g6 APPENDIX II Gregory had written no Plays, but had, I discovered, a greater knowledge of the country mind and country speech than anybody I had ever met with, and nothing but a burden of knowledge could keep 'Cathleen ni Houlihan' from the clouds. I needed less help for the 'Hour-Glass,' for the speech there is far from reality, and so the Play is almost wholly mine. When, however, I brought to her the general scheme for the' Pot of Broth,' a little farce which seems rather imitative to-day, though it plays well enough, and of the first version of 'The Unicorn,' 'Where there is Nothing,' a five-act Play written in a fortnight to save it from a plagiarist, and tried to dictate them, her share grew more and more considerable. She would not allow me to put her name to these Plays, though I have always tried to explain her share in them, but has signed 'The Unicorn from the Stars,' which but for a good deal of the general play and a single character and bits of another is wholly hers. I feel indeed that my best share in it is that idea, which I have been capable of expressing completely in criticism alone, of bringing together the rough life of the road and the frenzy that the poets have found in their ancient cellar,-a prophecy, as it were, of the time when it will be once again possible for a Dickens and a Shelley to be born in the one body. The chief person of the earlier Play was very dominating, and I have grown to look upon this as a fault, though it increases the dramatic effect in a superficial way. We cannot sympathise with the man who sets his angel at once lightly and confidently to overthrow the order of the world, for such a man will seem to us alike insane and arrogant. But our hearts can go with him, as I think, if he speak with some humility, so far as his daily self carry him, out of a cloudy light of vision; for whether he understand or not, it may be that voices of angels and archangels have spoken in the cloud, and whatever wildness came upon his life, feet of theirs may well have trod the clusters. But a man so plunged in trance is of necessity somewhat still and silent, though it be perhaps the silence and the stillness of a lamp; and the movement of the Playas a whole, if we are to have time to hear him, must be without hurry or violence. 29.

* * * Preface to 45. In poetical drama there is, it is held, an antithesis between drama and lyric poetry, for lyric poetry however much it move you when read out of a book can, as these critics think, but encumber the action. Yet when we go back a few centuries and enter the great periods of drama, character grows less and sometimes disappears, and there is much lyric feeling, and at times a lyric measure will be wrought into the dialogue, a flowing measure that had well befitted music, or that more lumbering one of the sonnet. Suddenly it strikes us that character is continuously present in comedy alone, and that there is much tragedy, that of Corneille, that of Racine, that of Greece and Rome, where its place is taken by passions and motives, one person being jealous, another full of love or remorse or pride APPENDIX II I297 or anger. In writers of tragi-comedy (and Shakespeare is always a writer of tragi-comedy) there is indeed character, but we notice that it is in the moments of comedy that character is defined, in Hamlet's gaiety let us say; while amid the great moments, when Timon orders his tomb, when Hamlet cries to Horatio 'Absent thee from felicity awhile', when Anthony names 'Of many thousand kisses the poor last' all is lyricism, unmixed passion, 'the integrity of fire'. Nor does character ever attain to complete definition in these lamps ready for the t~per, no matter how circumstantial and gradual :he opening of events, as it does in who has no passionate purpose to fulfil, or as it does in Henry the Fifth whose poetry, never touched by lyric heat, is oratorical; nor when the tragic reverie is at its height do we say 'How well that man is realised! I should know him were I to meet him in the street', for it is always ourselves that we see upon the stage, and should it be a tragedy of love we renew, it may be, some loyalty of our youth, and go from the theatre with our eyes dim for an old love's sake. I think it was while rehearsing a translation of Les Fourberies de Scapin in Dublin, and noticing how passionless it all was, that I saw what should have been plain from the first line I had written, that tragedy must always be a drowning and breaking of the dykes that separate man from man, and that it is upon these dykes comedy keeps house. But I was not certain of the site (one always doubts when one knows no testimony but one's own); till somebody told me of a certain letter of Congreve's. He describes the external and superficial expressions of 'humour' on which farce is founded and then defines 'humour' itself, the foundation of comedy, as 'a singular and unavoid• able way of doing anything peculiar to one man only, by which his speech and actions are distinguished from all other men' and adds to it that 'pas• sions are too powerful in the sex to let humour have its course', or as I would rather put it, that you can find but little of what we call character in unspoiled youth, whatever be the sex, for, as he indeed shows in another sentence, it grows with time like the ash of a burning stick, and strengthens towards middle life till there is little else at seventy years. Since then I have discovered an antagonism between all the old art and our new art of comedy and understand why I hated at nineteen years Thackeray'S novels and the new French painting. A big picture of cocottes sitting at little tables outside a Cafe, by some follower of Manet's, was exhibited at the Royal Hibernian Academy while I was a student at a life class there, and I was miserable for days. I found no desirable' place, no man I could have wished to be, no woman I could have loved, no Golden Age, no lure for secret hope, no adventure with myself for theme out of that endless tale I told myself all day long. Years after I saw the Olympia of Manet at the Luxembourg and watched it without hostility indeed, but as I might some incomparable talker whose precision of gesture gave me pleasure, though I did not understand his language. I returned to it again and again at intervals of years, saying to myself 'some day I will under• stand'; and yet it was not until Sir Hugh Lane brought the Eva Gonzales to Dublin, and I had said to myself 'How perfectly that woman is realized 12g8 APPENDIX II as distinct from all other women that have lived or shall live!' that I under• stood I was carrying on in my own mind that quarrel between a tragedian and a comedian which the Devil on Two Sticks showed to the young man who had climbed through the window. There is an art of the flood, the art of Titian when his Ariosto and his Bacchus and Ariadne give new images to the dreams of youth, and of Shakes• peare when he shows us Hamlet broken away from life by the passionate hesitations of his reverie. And we call this art poetical, because we must bring more to it than our daily mood if we would take ')ur pleasure; and because it delights in picturing the moment of exaltation, of excitement, of dreaming (or the capacity for it, as in that still face of Ariosto's that is like some vessel soon to be full of wine). And there is an art that we call real, because character can only express itself perfectly in a real world, being that world's creature, and because we understand it best through a delicate discrimination of the senses, which is but entire wakefulness, the daily mood grown cold and crystalline. We may not find either mood in its purity, but in mainly tragic art one distin• guishes devices to exclude or lessen character, to diminish the power of that daily mood, to cheat or blind its too clear perception. If the real world is not altogether rejected it is but touched here and there, and into the places we have left empty we summon rhythm, balance, pattern, images that remind us of vast passions, the vagueness of past times, all the chimeras that haunt the edge of trance; and if we are painters, we shall express personal emotion through ideal form, a symbolism handled by the genera• tions, a mask from whose eyes the disembodied looks, a style that remembers many masters, that it may escape contemporary suggestion; or we shall leave out some element of reality as in Byzantine painting, where there is no mass, nothing in relief; so it is that in the supreme moment of tragic art there comes upon one that strange sensation as though the hair of one's head stood up. And when we love, if it be in the excitement of youth, do we not also, that the flood may find no wall to narrow, no stone to convulse it, exclude character or the signs of it by choosing that beauty which seems unearthly because the individual woman is lost amid the labyrinth of its lines as though life were trembling into stillness and silence, or at last folding itself away? Some little irrelevance ofline, some promise of character to come, may indeed put us at our ease, 'give more interest' as the humour of the old man with the basket does to Cleopatra's dying; but should it come as we had dreamed in love's frenzy to our dying for that woman's sake, we would find that the discord had its value from the tune. Certainly we have here the Tree of Life and that of the Knowledge of Good and Evil which is rooted in our interests and if we have forgotten their differing virtues, it is surely because we have taken delight in a con• fusion of crossing branches. Tragic art, passionate art, the drowner of dykes, the confounder of understanding, moves us by setting us to reverie, by alluring us almost to the intensity of trance. The persons upon the stage, let us say, greaten till they are humanity itself. We feel our minds expand APPENDIX II 1299 convulsively or spread out slowly like some moon-brightened image• crowded sea. That which is before our eyes perpetually vanishes and returns again in the midst of the excitement it creates, and the more enthralling it is the more do we forget it. When I am watching my own Deirdre I am content with the players and myself, if I am moved for a while not by the contrasted sorrows of Deirdre and Naisi, but because the words have called up before me the image of the sea-born woman so distinctly that Deirdre seems by contrast to those unshaken eyelids that had but the sea's cold blood what I had wished her to seem, a wild bird in a cage. It was only by watching my own plays that I came to understand that this reverie, this between sleep and waking, this bout of fencing, alike on the stage and in the mind, between man and phantom, this perilous path as on the edge of a sword, is the condition of tragic pleasure, and to understand why it is so rare and so brief. If an actor becomes over emphatic, picking out what he believes to be the important words with violence, and running up and down the scale, or if he stresses his lines in wrong places, or even if an electric lamp that should have cast but a reflected light from sky or sea, shows from behind the post of a door, I discover at once the proud fragility of dreams. At first I was driven into teaching too statuesque a pose, too monotonous a delivery, that I might not put 'vitality' in the place of the sleep walking of passion, and for the rest became a little deaf and blind. But alas! it is often my own words that break the dream. Then I take the play from the stage and write it over again, perhaps many times. At first I always believed it must be something in the management of events, in all that is the same in prose or verse, that was wrong, but after I had recon• structed a scene with the messenger in Deirdre in many ways, I discovered that my language must keep at all times a certain even richness. I had used 'traitor', 'sword', 'suborned', words of a too traditional usage, without plunging them into personal thought and metaphor, and I had forgotten in a moment of melodrama that tragic drama must be carved out of speech as a statue is out of stone. But train our players and our mechanists as we will and if we have not thought out the art of stage decoration afresh every brush stroke of our scene painter will mix into the reverie the meretricious or the irrelevant. We shall have hired some journeyman to accompany the poet's description with a painted landscape which, because it must give all to the first glance and yet copy nature, will alone copy what is obvious, and which even if it could keep the attention and give it pleasure could but keep it to the poet's loss:-

'A vapour, sometimes, like a bear, or lion, A tower'd citadel, a pendant rock, A forked mountain, or blue promontory With trees upon't that nod unto the world And mock our eyes with air.' APPENDIX II I have heard Anthony speak those lines before a painted cloth that, though it could not make them nothing, left in the memory the sensation of something childish, theatrical as we say. Words as solemn, and having more for the mind's eye than those of the Book of Common Prayer are spoken where no reformer has cast out the idolatrous mummery and no tradition sanctified. In no art can we do well unless we keep to those effects that are peculiar to it or it can show better than the other arts. We no longer paint wood with a grain that is not its own, but are content that it should clisplay itself or be covered with paint that pretends to be but paint, and if we make a design for a vase or a plate, we are careful not to attempt something that can be better done in an easel picture. But in the art of the theatre we imitate an easel picture even though we ignore or mar for its sake the elements we should have worked in, the characteristics of the stage, light and shadow, speech, the movement of the players. Our tree-wings ... let us say ... can only be given mass and detail by painted light and shadow and these will contradict, or be in no relation to the real light, and this real light will be so cut up and cut off by wings and borders arranged for effects of painting that we shall be content to use it in but a few obvious ways. Then too our background will be full of forms and colours, instead of showing an even or almost even surface whereon the players are outlined clearly that we may see their movements and feel their importance; and all the while the back• ground, even if it were fine painting and had no false light and shadow and did not reduce the players to a picturesque group in the foreground of a water colour painting by my grandmother, could but insist on the unreality we are anxious to forget, for every time a player stood close to that garden scene we would but feel over again on how flat a surface they had painted that long garden walk dwindling away into the djstance. If we would give our theatre the; dignity of a church, of a Greek open air theatre, of an Elizabethan platform stage, and cannot be content with any of these, we must have a scene where there is no painted light and shade, and that is but another way of saying, no realism, no objects represented in mass (unless they can be copied exactly as we can sometimes copy an interior), and the mechanism of this scene must as little as possible prevent the free and delicate use of light and shadow. When we have made this change in obedience to a logic which has been displayed in the historical development of all the other arts, we shall have created a theatre that will please the poet and the player and the painter. An old quarrel will be ended, the stage will be beautifully decorated, every change will be full of meaning and yet never create a competing interest, or set bounds to the suggestions of speech and motion. At last liberated from the necessity of an always complete realization, the producer, recovering caprice, will be as free as a modern painter, as Signor Mancini let us say, to give himself up to an elliptical imagination. Gloster will be able to fall but from his own height and think that he has fallen from Dover cliff, and Richard's and Richmond's tents can face one another again. We shall have APPENDIX II 1301 made possible once more a noble, capricious, extravagant, resonant, fan• tastic art. All summer I have been playing with a little model, where there is a scene capable of endless transformation, of the expression of every mood that does not require a photographic reality. Mr. Craig-who has invented all this-has permitted me to set up upon the stage of the Abbey another scene that corresponds to this, in the scale of a foot for an inch, and hence• forth I shall be able, by means so simple that one laughs, to lay the events of my plays amid a grandeur like that of Babylon; and where there is neither complexity nor compromise nothing need go wrong, no lamps become suddenly unmasked, no ill-painted corner come suddenly into sight. Henceforth I can all but 'produce' my play while I write it, moving hither and thither little figures of cardboard through gay or solemn light and shade, allowing the scene to give the words and the words the scene. I am very grateful for he has banished a whole world that wearied me and was un• dignified and given me forms and lights upon which I can play as upon some stringed instrument. w. B. YEATS. P.S. Two of Mr. Craig's designs, 'The Heroic Age-Morning', and 'The Heroic Age-Evening', are impressions worked out in Mr. Craig's scene, of the world my people move in, rather than exact pictures of any moment of a play. The one, however, suggests to me On Baile's Strand, and the other Deirdre. The design for The Hour-Glass shows the scene as it was used in Dublin, and 'The Fool'-who belongs to The Hour-Glass and On Baile's Strand-is as he was in Dublin in the first play, except that we have found no one who can make us a mask of leather, and we do not yet know how to make it ourselves. w. B.Y. 45·

I noticed in all but all the printed criticisms of Synge's 'Deirdre of the Sorrows' that none of the things that made certain rr.~ments seem to me the noblest tragedy were written of, but that the play was judged by things that seemed to me but wheels and pulleys necessary to the effect, but in themselves nothing. Upon the other hand, those who spoke to me of the play never spoke of these wheels and pulleys, but if they cared at all for the play, cared for the things I cared for. One's own world of painters, of poets, of good talkers, of ladies who delight in Ricard's portraits or Debussy's music, all those whose senses feel instantly every change in imagination, in our mother the moon, saw the stage in one way; and those others who look at plays every night, who tell the general playgoer whether this play or that play is to his taste, saw it in a way so different that there is certainly some body of dogma whether in the instincts or in the memory, pushing the ways apart. A printed APPENDIX II criticism for instance found but one dramatic moment, that when Deirdre in the second act overhears her lover say that he may grow weary of her; and not one, if I remember rightly, chose for praise or explanation the third act which alone had satisfied the author, or contained in any abundance those sentences that were quoted at the fall of the curtain and for days after. Deirdre and her lover, as Synge tells the tale, returned to Ireland though it was nearly certain they would die there, because death was better than broken love, and at the side of the open grave that had been dug for one and would serve for both, quarreled, losing all they had given their life to keep. 'Is it not a hard thing that we should miss the safety of the grave and we trampling its edge?' That is Deirdre's cry at the outset of a reverie of passion that mounts and mounts till grief itself has carried her beyond grief into pure contemplation. Up to this the play had been a Master's unfinished work, monotonous and melancholy, ill arranged, little more than a sketch of what it would have grown to, but now I listened breathless to sentences that may never pass away, and as they filled or dwindled in their civility of sorrow, the player, whose art had seemed clumsy and incomplete, like the writing itself, ascended into that tragic ecstacy which is the best that art ..... [T] perhaps that life ..... [T] can give. At last when Deirdre, in the paroxysm before she took her life, touched with compassionate fingers him that had killed her lover, we knew that the 'player had become, if but for a moment, the creature of that noble mind which had gathered its art in waste islands, and we too were carried beyond time and persons to where passion living through its thousand purgatorial years, as in the wink of an eye, becomes wisdom; and it was as though we too had touched and felt and seen a disembodied thing. One dogma of the printed criticism is that if a play does not contain definite character, its constitution is not strong enough for the stage, and that the dramatic moment is always the contest of character with character. In poetical drama ... between character and lyric poetry, ... however beautiful when read out of a book can but, as ... think, encumber ... music. or that laboured one ... say; but that in the great ... awhile,' when Cleopatra names ... oratorical like a speech at a general election, like an article in some daily paper; nor when ... realised, I ... sake. I think ... site; (one ... sex, for as ... as one might ... gave one pleasure, though one did ... understand' and ... live' that I ... window. There is ... Ariadne gave new ... dreaming (or in the ... crystalline. We may ... relief, and so ... dying. But ... tune. When we look at the faces of the old tragic paintings, whether it is in Titian or in some painter of medieval China, we find there sadness and gravity, a certain emptiness even as of a mind that waited the supreme crisis (and indeed it seems at times as if the graphic art, unlike poetry which sings the crisis itself, were the celebration of waiting). Whereas in modern art, whether in Japan or in Europe, 'vitality' (is not that the great word of the studios?) the energy that is to SliY that is under the command of our common moments, sings, laughs, chatters or looks its busy thoughts. APPENDIX II Have we not here then the Tree of Life and that of the knowledge ... interests, and ... differing forms of leaf and fruit, it is surely ... dykes, the compounder of understanding, ... image crowded ... myself, when I ... Naoise, ... distinctly, that her unshaken ... had not the sea's cold blood seem by contrast what I ... cage. It was ... phantoms, ... dreams. At first ... passion in these things, and for ... blind. But alas! ... that our language ... , 'suborned' words in a too ... stone. It is certain therefore that should suggestion run thin, should some one move violently, should there be a sudden noise, anyone out of a thousand accidents that would hardly trouble the robust pleasure of comedy, the climbing shoulders will come from under the stone. Perhaps there is in tragic art something womanish come from the continual presence of the Muses who have given Comedy a later and a slighter love, and we know that men can have their day's work amid the abrupt, the common, the foolish even without utter loss, but that women cannot keep their fineness lacking a fine company. But train . . . scene painters will . . . reverie the monotonous or the irrelevant. We will hire some ... loss:- · .. vapour, sometimes, like ... ,

· .. world. · .. air. I have ... Prayer must be spoken ... sanctified. In no ... to it or that it ... if we paint a design upon a vase ... in easel painting. But ... imitate easel painting, even ... distance. If we ... these we ... mass unless ... interior, and ... shadow. When we ... yet it will never ... motion, and liberated ... art. 'The Tragic Theatre,' The Mask (Florence), October, 1910.

* * * Preface to 52. The plays in this volume of selections that I have made for Baron Tauch• nitz, are part of the repertory of the Abbey Theatre, Dublin, and with the exception of 'The Countess Cathleen' are printed as they are played. I have left an end to 'The Countess Cathleen' that is not played, because the new end, as given in the notes, was not made for dramatic or poetic reasons, but to suit audiences that, even in Dublin, know little of Irish mythology. The rest of the play, which differs from any published version, is as it has been shaped after many rehearsals and performances. I have spent so much of my time in the theatre, that what gives me displeasure there, gives me displeasure when in print, seeming as though it were something unshapely in a woman's body. It seems to me that what plays best before a worthy audience, will read best, and with this conviction, which may be but a false light of the theatre, I have left out passages that used to please me. APPENDIX n If I had but music enough to make settings that had but enough music to adorn the words yet leave them natural and audible, I should have written lyrics to be sung, for it is speaking or singing before an audience that makes us tell our stories well, and put our thoughts into some lasting order and set our emotions clambering to some arduous climax, but as it is, lacking music but that of words I have chosen the lyrics not out of singers' mouths but from little books published at Stratford-on-Avon, or in London, or by my sisters at the hand-press worked by the village of Dundrum, in Ireland. w. B. YEATS. October, 1912. 52. * * * [For A Preface to the New Version (The Hour-Glass), see text, p. 577.] * * * Preface to 60. In a note at the end of my last book '' (.) I explained why I preferred this kind of drama, and where I had found my models, and where and how my first play after this kind was per• formed, and when and how I would have it performed in the future. I can but refer the reader to the note or to the long introduction to 'Certain Noble Plays of Japan' 1 (Cuala Press.) w. B. YEATS. October 1 Ith, 1918. P.S. That I might write 'The Dreaming of the Bones,' Mr. W. A. Henderson with great kindness wrote out for me all historical allusions to Dervorgilla. 60. * * * Preface to 64; Preface in 71 to 'Four Playsfor Dancers.' Two of these plays must be opened by the unfolding and folding of the cloth, a substitute for the rising of the curtain, and all must be closed by it. The others, 'The Dreaming of the Bones' and 'Calvary,' should have the same opening, unless played after plays of the same kind, when it may seem a needless repetition. All must be played to the accompaniment of drum and zither and flute, but on no account must the words be spoken 'through music' in the fashionable way; and the players must move a little stiffly and gravely like marionettes and, I think, to the accompaniment of drum taps. I felt, however, during the performance of 'The Hawk's Well,' the only one played up to this, that there was much to discover. Should I make a serious attempt, which I may not, being rather tired of the theatre, to arrange and supervise performances, the dancing will give me most trouble, for I know but vaguely what I want. I do not want any existing form of stage dancing, but something with a smaller gamut of expression, something

I Reprinted in The Cutting of an Agate. London, 1919; &says. London, 1924; New York, 1924; and &says and Introdu&tions. London, 1961; New York, 1961. APPENDIX II more reserved, more self-controlled, as befits performers within arm's reach of their audience. The designs by Mr. Dulac represent (Mr. Edmund Dulac designed 71) the masks and costumes used in the first performance of 'The Hawk's Well.' The beautiful mask of Cuchulain may, I think, serve for Dervorgilla, and if I write plays and organize performances on any scale and with any system, I shall hope for a small number of typical masks, each capable of use in several plays. The face of the speaker should be as much a work of art as the lines that he speaks or the .costume that he wears, that all may be as artificial as possible. Perhaps in the end one would write plays for certain masks. If some fine sculptor should create for my 'Calvary,' for in• stance, the masks of Judas, of Lazarus, and of Christ, would not this suggest other plays now, or many generations from now, and possess one cannot tell what philosophical virility? The mask, apart from its beauty, may suggest new situations at a moment when the old ones seem exhausted; 'The Only Jealousy of Emer' was written to find what dramatic effect one could get out of a mask, changed while the player remains upon the stage to suggest a change of personality. At the end of this book there is some music by Mr. Rummel, which my friends tell me is both difficult and beautiful (beautiful, 71) for 'The Dreaming of the Bones.' It will require, I am told, either a number of flutes of which the flute-player will pick now one, now another, or an elaborate modern flute (flute, 71) which would not look in keeping. I prefer the first suggestion. I notice that Mr. Rummel has written no music for the dance, and I have some vague memory that when we talked it over in Paris he felt that he could not without the dancer's help. There is also music for 'The Hawk's Well' by Mr. Dulac, which is itself an exposition of method, for it was written after a number of rehearsals and for instruments that have great pictorial effect. 'The Dreaming of the Bones' and 'The Only Jealousy of Emer,' bound together as Two Plays for Dancers, were printed on my sister's hand-press at Dundrum, County Dublin, and published in a limited edition in the spring of 1919, while 'At the Hawk's Well' makes a part of the edition of The Wild Swans at Coole, printed at the same press in 1917, though not of the later edition of that book published by Macmillan. 'At the Hawk's Well' and 'The Only Jealousy of Emer' are the first and last plays of a series offour dealing with Cuchulain's life. The others are my 'Green Helmet' and 'Baile's Strand.' 'Calvary' has not hitherto been published. [This paragraph 'The Dreaming ... published.' omitted in 71.] That I might write 'The Dreaming of the Bones' (Bones,' 71) Mr. W. A. Henderson with great kindness wrote out for me all historical allusions to 'Dervorgilla'; but neither that nor any of these plays could have existed if Mr. Edmond (Edmund 71) Dulac had not taught me the value and beauty of the mask and rediscovered how to design and make it. w. B. YEATS. July 1920. 64.71 • * * * APPENDIX n Preface to 69. In this book are all Plays of mine played at the Abbey Theatre, Dublin, except 'The Land of Heart's Desire' and 'The Countess Cathleen,' which are in Poems (T. Fisher Unwin). I (Poems 169A) have also written Fou.r Playsfor Dancers, but I leave them under separate cover as they were written for private performances in studio or drawing-room, and are a different form of art. 'On Baile's Strand,' though produced for the first time at the opening of the Abbey Theatre in December 1904, was planned when I had no hope of that, or any, theatre, and the characters walk on to an empty stage at the beginning and leave that stage empty at the end, because I thought of its performance upon a large platform with a door at the back and an exit through the audience at the side, and no proscenium, (pro• scenium'6gA) or curtain; and being intended for a platform and a popular audience-no other audience at the time caring a straw about us-is full of what I thought to be good round speeches. I t makes one of a series of plays upon events in the life of Cuchulain, and if placed in the order of those events the plays would run: I. 'The Hawk's Well' (Four Plays for Dancers); 2. 'The Green Helmet'; 3. 'On Baile's Strand'; 4. 'The Only Jealousy of Emer' (Fou.r Plays for Dancers): but they were so little planned for performance upon one evening that they should be at their best on three different kinds of stage. 'The Player Queen' is the only work of mine, not mere personal expression, written during these last twenty years, which is not avowedly Irish in its subject matter, being all transacted in some No-Man's-Land. I wrote it, my head full of fantastic architecture invented by myself upon a miniature stage, which corresponds to that of the Abbey in the proportion of one inch to a foot, with a miniature set of Gordon Craig screens and a candle; and if it is gayer than my wont it is that I tried to find words and events that would seem well placed under a beam of light reflected from the ivory-coloured surface of the screens. No verse play of mine requires much more than an hour for its perform• ance; and most, being intended for a theatre where every evening winds up with comedy or satire, are much shorter. 'Deirdre,' 'The King's Threshold,' 'The Hour-Glass,' in its verse form, are more difficult to play than 'The Green Helmet' or 'The Countess Cath• leen' because in each some one personage is upon the stage through the whole, or all but the whole play, and should not be attempted where the principal player lacks subjectivity and variety. I have explained at the end of this book how often Lady Gregory has collaborated with me. I have sometimes asked her help because I could not write dialect and sometimes because my construction had fallen into confusion. To the best of my belief 'The Unicorn from the Stars,' but for fable and chief character, is wholly her work. 'The Green Helmet' and 'The Player Queen' alone perhaps are wholly mine. w. B. YEATS. , A1ay I, 1922. 6g. * * * APPENDIX II

Preface to 71. I have gathered into this book two plays, written before the foundation of the Irish Theatre though much corrected since, and four plays written but the other day and intended for performance in drawing-room and studio, and a long series of dramatic notes. I begin the book with these notes, which are taken for the most part from an occasional publication called Samhain, started in the third year of 'The Irish Dramatic Movement' to defend that movement, and long out of print. In a little while Dail Eireann and our Dublin newspapers will consider, as I hope, the foundation of an Irish State Theatre; and I would put these old notes into evidence. Though often about foolish quarrels, or plays but little better, they may keep their use even when that occasion passes; being passionately written, and at a moment when Ireland was preparing, in that dark portion of the mind which is like the other side of the moon, for insurrection and anarchic violence; and all in some measure a plea for intellectual spontaneity against unyielding, mechanical, abstract principles. I ask indulgence if I over• rate their value, for it may be that I cannot judge sentences that call up memories of the time when I was most alive, having most friends and enemies. All needful explanations are in Lady Gregory's book, Our Irish Theatre. The plays are so abundantly annotated and prefaced that I need say nothing more except that the first was planned and partly written when I was little more than a boy, and that it gives me more pleasure in the memory than any of my plays. It was all thought out in the first fervour of my generation's distaste for Victorian rhetoric; that rhetoric once away, every poetical virtue seemed possible. w. B. YEATS. Dublin, February 1923. * * * [For Preface to 'The Land of Heart's Desire' in 71, see p. 212.]

* * * Preface to 75. To Lady Gregory I dedicate this book to you because of a thought that has been in my head all day. When some"years ago we produced my 'Baile's Strand,' with scenes and costumes designed by Mr. Charles Ricketts, my imagination was greatly stirred, and I wanted to take up my theme once more, but to make it more mythological, more indefinite. I began to play with the idea of inventing for Cuchullain some youthful sojourn in the forest, and writing for him many love poems like those Indian poets have put into the mouth of Krishna, but addressed, not to girls who herd the cows, but to girls who herd the swine. I do not know why I preferred swine to cows except that our old APPENDIX II legends speak so often of swineherds. Now that I have just read through the poems in this little book, I renew an impression, especially from the 'Cat and the Moon,' which I have received much more powerfully from the last act of Synge's 'Well of the Saints' and from your 'Gaol Gate' and as power• fully from 'The Grasshopper' by Mr. Padraic Colum, and from a play of Mr. Daniel C6rkery's-an odour, a breath, that suggests to me Indian or Japanese poems and legends. ,I get no such impression from the powerful art of Mr. T. C. Murray, nor from that of Mr. Macnamara, or of Shiels, or of Mr. Lennox Robinson, nor from that of any other Irish dramatist, poet or novelist that I can remember. Why has our school, which has perhaps come to an end, been interested mainly in something in Irish life so old that one can no longer say this is Europe, that is Asia? It cannot be because of the books we have:: read, for we have all read such different books. Will poets and novelists and dramatists, younger than Mr. Lennox Robinson or Mr. Macnamara, take up our theme again, urged thereto by some change in the world's thought too subtle to be attributed to any book? Per• haps; for the other day when I read that strange 'Waste Land' by Mr. T. C. Eliot I thought of your work and of Synge's; and he is American born, and Englishman bred, and writes but of his own mind. That is the kind of insoluble problem that makes the best conversation, and if you will come and visit me, I will call the Dublin poets together, and we will discuss it until midnight. W. B. YEATS, 25th February, 1924. 75 '" '" • [For Priface to 79 see notes on 'Sophocles' King Oedipus', p. 851.] • '" • Preface to 83. All these plays have been played at the Abbey Theatre, Dublin. The Words upon the Window-pane has been revived several times, The Cat and the Moon once, but Fighting the Waves, which drew large audiences, not at all, because Mr. George Antheil's most strange, most dramatic music requires a large expensive orchestra. A memory of that orchestra has indeed roused a distinguished Irish lyric poet to begin a dance play which he assures me requires but a tin whistle and a large expensive concertina. The Resurrectioll was played for the first time at the Abbey a few days ago. Like The Cat and the Moon it was not intended for the public theatre. I permitted it there after great hesitation. Owing perhaps to a strike which has prevented the publication of the ' religious as well as of the political newspapers and reviews, all is well. W. Y. B. 1th AugUst 1934. 83· '" * '" APPENDIX II Preface to 84. The plays in this book are intended for hearers and for readers; all have been played at the Abbey Theatre, Dublin, except Calvary, which has not yet been played anywhere. The dates in the list of Contents, and under the title of each play, refer to the year of their publication. Those who think of producing any particular play should seek for it in Plays and Controversies, Plays!, and Wheels and Butterflies. The Note on The Countess Cathleen, for in• stance, in Plays and Controversies contains a simplified version of the last scene, and when I have known of appropriate music for some play I have given it in Note or Appendix. The version of The Hour-Glass in the present book has been but once played at the Abbey Theatre and once elsewhere, whereas the prose version in Plays has been played a great many times; speakers of verse are rare. I do not include in the present book Fighting the Waves, a prose version of The Only Jealousy of Erner so arranged as to admit of many dancers and to be immediately intelligible to an average theatrical audience; it can be found in Wheels and Butterflies. In Plays and Plays and Controversies I have explained my indebtedness to Lady Gregory. If I could have persuaded her, she would have signed The Unicorn from the Stars, her share in it is so great. She had generally some part wherever there is dialect, and often where there is not. w. B. Y. 84· * * * Preface to 85, 86. A year ago I found that I had written no verse for two years; I had never been so long barren; I had nothing in my head, and there used to be more than I could write. Perhaps Coole Park where I had escaped from , from all that Dublin talked of, when it was shut, shut me out from my theme; or did the subconscious drama that was my imaginative life end with its owner? but it was more likely that I had grown too old for poetry. I decided to force myself to write, then take advice. In 'At Parnell's Funeral' I rhymed passages from a lecture I had given in America; a poem upon mount Meru came spontaneously, but philosophy is a dangerous theme; then I was barren again. I wrote the prose dialogue of The King of the Great Clock Tower that I might be forced to make lyrics for its imaginary people. When I had written all but the last lyric I went a considerable journey partly to get the advice of a poet not of my school who would, as he did some years ago, say what he thought. I asked him to dine, tried to get his attention. 'I am in my sixty ninth (sixty-ninth 86) year' I said, 'probably I should stop writing verse, I want your opinion upon some verse I have written lately.' I had hoped he would ask me to read it but he would not speak of art, or of literature, or of anything related to them. I had however been talking to his latest disciple and knew that his opinions had not changed: Phidias had corrupted sculpture, we had nothing of true Greece but certain

I Plays in Prose and Verse.-Ed. APPENDiX 11 Nike dug up out of the foundations of the Parthenon, and that corruption ran through all our art; Shakespeare and Dante had corrupted literature, Shakespeare by his too abounding sentiment, Dante by his compromise with the Church. He said, apropos (said apropos 86) of nothing 'Arthur Balfour was a scoundrel,' and from that on would talk of nothing but politics. All the other modern statesmen were more or less scoundrels except 'Mussolini and that hysterical imitator of his Hitler.' When I objected to his violence he declared that Dante considered all sins intellectual, even sins of the flesh, he himself refused to make the modern distinction between error and sin. He urged me to read the works of Captain Douglas who alone knew what caused our suffering. He took my manuscript and went away denouncing Dublin as 'a reactionary hole' because I had said that I was re-reading Shakespeare, would go on to Chaucer, and found all that I wanted of modern life in 'detection and the wild west.' Next day his judgment came and that in a single word 'Putrid.' Then I took my verses to a friend of my own school, and this friend said 'go on just like that. Plays like The Great Clock Tower always seem un• finished but that is no matter. Begin plays without knowing how to end them for the sake of the lyrics. I once wrote a play and after I had filled it with lyrics abolished the play.' Then I brought my work to two painters and a poet until I was like Pan urge consulting oracles as to whether he should get married and rejecting all that did not confirm his own desire. [Yeat's Poem 'A Prayer for Old Age,' follows.]

God guard me from those th~ughts men think In the mind alone, He that sings a lasting song Thinks in a marrow bone;

From all that makes a wise old man That can be praised of all; o what am I that I should not seem For the song's sake a fool.

I pray-for fashion's word is out And prayer comes round again• That I may seem though I die old A foolish, passionate man. 85, 86. * * * Preface to 87. I wrote The King of the Great Clock Tower in prose; a friend, whose judgment I have trusted in the past, denounced it in violent language; but produced in the Abbey Theatre some months ago-McCormick, 'King/ Ninette de APPENDIX II Valois, 'Queen'-it was more successful than any recent play of mine. A friend I had asked to read , that preceded it on the same night, and decide if that play were theologically dangerous, sought me out at the fall of the curtain full of enthusiasm, but said, 'When I tried to read it I was so bored that I could not get beyond the second page.' I came to the conclusion that prose dialogue is as unpopular among my studious friends as dialogue in verse among actors and playgoers. I have therefore rewritten The King of the Great Clock Tower in verse, but if anybody is inclined to play it, I recommend the prose version published by the Cuala Press last October. In The King of the Great Clock Tower there are three characters, King, Queen and Stroller, and that is a character too many; reduced to the essentials, to Queen and Stroller, the fable should have greater intensity. I started afresh and called the new version A Full Moon in March. The dance with the severed head suggests the central idea in Wilde's Salome. Wilde took it from Heine, who has somewhere described Salome in Hell throwing into the air the head of John the Baptist. Heine may have found it in some Jewish religious legend, for it is part of the old ritual of the year: the mother goddess and the slain god. In the first edition of The Secret Rose there is a story based on some old Gaelic legend. A man swears to sing a woman's praise; his head is cut off and the head sings. In attempting to put this story into a dance play I found that I had gone close to Salome's dance in Wilde's play. But in his play the dance is before the head is cut off. The hermit Ribh in 'Supernatural Songs' is an imaginary critic of St. Patrick. His Christianity, come perhaps from Egypt like much early Irish Christianity, echoes pre-Chris.tian thought. May 30 , 1935. 8,. * * * Preface to 9I. 'The Herne's Egg' was written in the happier moments of a long illness that had so separated me from life that I felt irresponsible; the plot echoes that of Samuel Ferguson's 'Congal,' and in one form or another had been in my head since my early twenties. I first wrote 'The King of the Great Clock Tower' in prose; a friend who is temperamentally violent denounced it in characteristic language, but when I produced it at the Abbey Theatre (Mac Cormick 'King,' Ninette de Valois 'Queen'), it was more successful than any recent play of mine. After a similar experience with another play I came to the conclusion that prose dialogue is as unpopular among my studious friends as dialogue in verse among actors and playgoers. I have therefore re-written 'The King of the Great Clock Tower' in verse. But if anybody is inclined to play it I recommend the prose version, published by The Macmillan Company a few years ago. In 'The King of the Great Clock Tower' there are three characters, King, Queen and stroller, and that is a character too many; reduced to the essentials, Queen and Stroller, the fable should have greater APPENDIX II intensity. I started afresh and called the new version 'A Full Moon in March.' The dance with the severed head suggests the central idea in Wilde's 'Salome.' Wilde took it from Heine, who has somewhere described Salome in Hell throwing into the air the head of John the Baptist. Heine may have found it in some Jewish religious legend, for it is part of the old ritual of the year: the mother-goddess and the slain god. In the first edition of 'The Secret Rose' there is a story based on some old Gaelic legend. A man swears to sing a woman's praise; his head is cut off and the head sings. In attempting to put this story into a dance play I found that I had gone close to Salome's dance in Wilde's play. But in his play the dance is before the head is cut off. 91.

* * * Preface to 93. Many years ago I brought out an occasional publication called, according to the season, 'Beltaine' or 'Samhain'; it contained my defence of the Abbey Theatre, its actors and its plays. Though I wrote most of it, Synge's 'Riders to the Sea,' some of Lady Gregory's little comedies, as well as my 'Cathleen ni Houlihan,' appeared first in its pages. In this new publication I shall write whatever interests me at the moment, trying, however, to keep some kind of unity, and only including poem or play that has something to do with my main theme. '' was first produced at the Abbey Theatre, Dublin, on August 10, 1938, with Michael Dolan as the Old Man and Liam Redmond as the Boy. w. B. YEATS, October, 1938. 93. Appendix III DATES, PLACES OF PERFORMANCE, AND CASTS OF CHARACTERS OF FIRST PRODUCTIONS [This information is mainly from Yeats's notes to the plays. I have ignored his variant spellings of proper names.] The Countess Cathleen. Broduced by the Irish Literary Theatre at the Ancient Concert Rooms, Dublin, 8 May 1899. First Demon. Marcus St. John Second Demon Trevor Lowe Shemus Rua Valentine Grace Teig . Charles Sefton Mary . Madame San Carolo Kevin (Aleel). Florence Farr Oona . Anna Mather Herdsman Charles Holmes Gardener Jack Wilcox Peasant Mr. Walford Spirit . Dorothy Paget Peasant Woman Miss M. Kelly Servant T. E. Wilkinson Countess Kathleen May Whitty 7-Bo• See also Lennox Robinson, Ireland's Abbey Theatre. London, 1951, p. 12.

The Land of Heart's Desire. Produced at the Avenue Theatre, London, 29 March 1894. Maurteen Bruin James Welch Shawn Bruin . A. E. W. Mason Father Hart . G. R. Foss Bridget Bruin Charlotte Morland Maire Bruin . Winifred Fraser A Faery Child Dorothy Paget 4-33, 47-67, 71-76, 78, 80. Cathleen ni Houlihan. Produced by the Irish National Dramatic Company at St. Teresa's Hall, Clarendon Street, Dublin, 2 April 1902. Cathleen ni Houlihan Miss Delia Cahel . Miss Maire nic Sheublagh Bridget Gillan Miss M. T. Quinn Patrick Gillan Mr. C. Caufield Michael Gillan Mr. T. Dudley Digges Peter Gillan . Mr. W. G. Fay 34. 45, 6g. See Robinson, op. cit., p. 31. APPENDIX III The Pot of Broth. Produced by the Irish National Dramatic Company at the Ancient Concert Rooms, Dublin, 30 October 1902. For cast see Robinson, op. cit., p. 31.

The King's Threshold. Produced by the Irish National Theatre Society at Molesworth Hall, Dublin, 7 [8 1] October 1903. Seanchan F. Fay King Guaire . P. Kelly Lord High Chamberlain Shamus O'Sullivan Soldier William Conroy Monk . S. Sheridan-Neill Mayor. William Fay A Cripple Patrick Columb A Court Lady Honor Saville Another Court Lady. Dora Melville A Princess Sara Allgood Another Princess Dora Gunning Fedelm Maire MacShiubhlaigh A Servant P. MacShiubhlaigh Another Servant P. Josephs A Pupil G. Roberts Another Pupil Cartia McChormac 23-32, 45, 48, 69·

The Shadowy Waters. Produced by the Irish National Theatre Society at Molesworth Hall, Dublin, 14January 1904. Forgael F. Fay Aibric. Shamus O'Sullivan Dectora Maire MacShiubhlaigh 23,28-69. See Robinson, op. cit., p. 41.

Deirdre. Produced by the National Theatre Society, Ltd., at Molesworth Hall, Dublin, 24 November 1906. Musicians Sara Allgood Maire O'Neill Brigit O'Dempsey Fergus. Arthur Sinclair Naisi . F. J. Fay Deirdre Miss Darragh A Dark-faced Messenger U. Wright Conchubar J. M. Kerrigan Dark-faced Executioner A. Power

I Appendix IV, 34; and Robinson, op. cit., p. 33. APPENDIX III 131 5 AI the Hawk's Well. Produced privately in Lady Cunard's drawing-room, Cavendish Square, London, 2 April Iq16. The Young Man Henry Ainley The Old Man Allan Wade The Guardian of the Well Mr. Ito The Three Musicians Mr. Dulac Mrs. Mann Mr. Foulds HB-7 I •

The Golden Helmet. Produced by the National Theatre Society, Ltd., at the Abbey Theatre, 19 March 1908. Cuchulain J. M. Kerrigan Conal . Arthur Sinclair Leagerie Fred. O'Donovan Laeg . Sydney Morgan Emer . Sara Allgood Conal's Wife Maire O'Neill Leagerie's Wife Eileen O'Doherty Red Man Ambrose Power Horseboys, Scullions, and Black Men, S. Hamilton, T. J. Fox, U. Wright, D. Robertson, T. O'Neill, I. A. O'Rourke, P. Kearney.

The Green Helmet. Produced by the National Theatre Society, Ltd., at the Abbey Theatre, 10 February 1910. rThe cast was different from The Golden Helmet cast in these parts: Laegaire's Wife Miss Magee Horseboys, Scullions, and Black Men, Eric Gorman, J. A. O'Rourke, John Carrick, F. R. Harford, T. Moloney, T. Durkin, P. Byrne.] See Robinson, op. cit., p. 103.

On Baile's Strand. Produced by the Irish National Theatre Society at the Abbey Theatre, 27 December 1904. Cuchulain Frank Fay Conchubar George Roberts Daire (an old King) . G. MacDonald The Blind Man Seumas O'Sullivan The Fool William Fay The Young Man P. MacShiubhlaigh Old Kings and Young Kings R. Nash, N. Power, U. Wright, E. Kegan, Emma Vernon, Doreen Gunning, Sara Allgood.

s~ Robinson, op. cit., p. 46. APPENDIX III The Ollb' Jealousy of Emcr. See p. 567, above: ' ... somebody put it on a public stage in Holland ... .' [No other information available.]

Fighting the Waves. Produced by the National Theatre Society, Ltd., at the Abbey Theatre, 13 August 1929. 83. For cast see Robinson, op. cit., p. 143.

The Hour-Glass (Prose). Produced by the Irish National Theatre Society at Molesworth Hall, Dublin, 14 March 1903. The Wise Man. J. W. Digges Bridget, his wife. Maire T. Quinn Her children Eithne and Pad ragan ni Shiubhleigh Pupils P. I. Kelly, Seumas O'Sullivan, P. Colum, P. MacShiubhlaigh The Angel Maire ni Shiubhlaigh The Fool. F.J. Fay 29-6g· See Robinson, op. cit., p. 33.

The Hour-Glass (Verse). Produced by the National Theatre Society, Ltd., at the Abbey Theatre, 21 November 1912. The Wise Man Mr. Nugent Monck. [Yeats gives but this one character. Robinson, op. cit., p. 108, lists another play for this date.] 69.

The Unicorn from the Stars. Produced by the National Theatre Society, Ltd., at the Abbey Theatre, 23 [211] November 1907. Father John . Ernest Vaughan Thomas Hearne Arthur Sinclair Andrew Hearne J. A. O'Rourke Martin Hearne F. J. Fay Johnny Bacach W. G. Fay Paudeen J. M. Kerrigan Biddy Lally Maire O'Neill Nanny. Bridget O'Dempsey 29-69. The Player Queen. Produced by the London Stage Society at King's Hall, Covent Garden, 25 May 1919. Decima Maire O'Neill Septimus Nicholas Hannen Nona. Edith Ev::ms 2

I Robinson, op. cit., p. 80. • Allan Wade, The Letters of W. B. Yeats. London, 1954, p. 654. For complete cast of first presentation at the Abbey Theatre on 9 December 1919 see Robinson, op. cit., p. 130. APPENDIX III The Dreaming of the Bones. Produced by the National Theatre Society, Ltd., at the Abbey Theatre, 6 December 1931. For cast see Robinson. 0/1. cit., p. 146.

Calvary. No record.

The Cat and the Moon. Produced by the National Theatre Society, Ltd., at the Abbey Theatre, 9 May 1926 [21 September 193 11]. 83.

Sophocles' King Oedipus. Produced by the National Theatre Society, Ltd., at the Abbey Theatre, 7 December 1926. Oedipus F. J. McCormick Jocasta Eileen Crowe Creon Barry Fitzgerald Priest Eric Gorman Tiresias Michael J. Dolan Boy D. Breen First Messenger Arthur Shields Herdsman Gabriel J. Fallon Second Messenger P. J. Carolan Nurse May Craig Children Raymond and Edna Fardy Servants Tony Quinn, Michael Scott, C. Haughton Leader of the Chorus J. Stevenson Chorus Peter Nolan, Walter Dillon, T. Moran, M. Finn, D. Williams 79· Sophocles' Oedipus at Colonus. Produced by the National Theatre Society, Ltd., at the Abbey Theatre, 12 September 1927. For cast see Robinson, op. cit., p. '41.

The Resurrection. Produced by the National Theatre Society, Ltd., at the Abbey Theatre, 30 July 1934. For cast see Robinson, op. cil., p. 159.

The Words upon the Window-Pane. Produced by the National Theatre Society, Ltd., at the Abbey Theatre, I7 November 1930.

For cast see Robinson, op. cit., p. '45.

I Robinson, op. cit., p. 146. For cast see Robinson, ibid. APPENDIX III

A Full ,Hoon ill ,Harch. No record.

The King oj the Creat Clock Tower. Produced by the National 'theatre Society, Ltd., at the Abbey Theatre, 30 June [30 July!] 1934.

The Herne's Egg. No record.

Purgatory. Produced by the National Theatre Society, Ltd., at the Abbey Theatre, 10 August 1938. Old Man Michael Dolan Boy Liam Redmond 93·

The Death of Cuchulain. Produced by Austin Clarke's Lyric Theatre at the Abbey Theatre, 13 August 1949.2

Where There is Nothing. Produced by the London Stage Society at the Royal Court Theatre on 26 June 1904. Paul Ruttledge Lyall Swete3

Diarmuid and Crania. Produced for the Irish Literary Theatre at the Gaiety Theatre, Dublin, on 21 . King Cormac. Alfred Brydone Finn MacCoole Frank Rodney Diarmuid F. R. Benson Goll Charles Bibby Usheen Henry Ainley Caoelte E. Harcourt Williams Fergus. G. Wallace Johnstone Fathna Walter Hampden Griffan Stuart Edgar Niall . Matheson Lang Conan the Bald Arthur Whitby An Old Man. H. O. Nicholson A Shepherd . Mr. Owen A Boy Ella Tarrant A Yaung Man Jean Mackinley Grania Mrs. F. R. Benson Laban Lucy Franklein

I Robinson, op. cit., p. 159. For cast see Robimon, ibid. 2 Birgit Rjersby, The Interpretation o(the Cuchuiain Legend in Ihe Works oj W. B. Yeals. l'psala, 1950; Dublin, 1950, p. 23. 3 Wade, op. cit., pp. 382n-383D. APPENDIX III 13 19 34.96.

The Island of Statues. No record.

The Seeker. No record.

Mosada. No record.

Time and the Witch Vivien. No record.

V.E.P.Y.-2U INDEX PART!

PART I records the characters in the plays with a notation of the line in the basic text and in the variants where each character first speaks. These play-abbreviations are used:

BS On Baile's Strand HW At the Hawk's Well C Calvary IS The Island of Statues CC The Countess Cathleen KO Sophocles' King Oedipus CK The Countess Kathleen KT The King's Threshold CM The Cat and the Moon LHD The Land of Heart's Desire CnH Cathleen ni Houlihan M D Deirdre OC Oedipus at Colonus DB The Dreaming of the Bones OJ The Onfy Jealousy cif Emer DC The Death of Cuchulain P Purgatory DG PB Sophocles' The Pot of Broth FM A Full Moon in March PQ The Player Queen FW Fighting the Waves R The Resurrection GH The Green (Golden) Helmet S The Seeker GT The King cif the Great Clock SW The Shadowy Waters Tower TV Time and the Witch Vivien HE The Herne's Egg US The Unicorn from the Stars HG (P) The Hour-Glass (Prose) WN Where There is Nothing HG(V) The Hour-Glass (Verse) WW The Words upon the Window-Pane

Aedh. HE 1,2; VIS. Beggar. PB VI. Agnes. HE II, 150; vII, IBo. Beggar, Blind. CM 9, VIO. Aibric. SW 67, V77. Beggar, Lame. CM 16, V33. Aileen. KT v44B. Beggar, The Old. PQ I, 355; v376. Aleel. CC 122, IIBh. Beggarman. PB VI. Algie, Mr. WN I, 274; v275. Bishop. PQ I, 672; v672. Almintor. lSI, I, II3;vII,3,2Bo. Bocach (Bacach), Johnny. US I, 509; Aloysius, Father. WN IV, 2, 55; vV, VI, 509. 95· Boy. P I, VI; WN 11,391; v392; DG Angel. CC 937, v937; HG (P) 151, I, 3. v16I; (V) 244, v251. Boys. WN II, 424; v424. Antigone. Ot: II, v27. Brian. KT 232, 202g. Antonio. IS I, I, 115. Bridget. HG (P) 320, v321; (V) 459, Aoife (Eofe). *HW p. 41 I; DC 94, v459· v9B. Bruin, Bridget. LHD I, VI. Arias. KT V173. Bruin, Mary (Maire). LHD 44, v46. Attendant, First. GT 2; GT 2, V2 (p. Bruin, Maurteen. LHD II, V13. 992); FM I, VI. Bruin, Shawn. LHD 9, vg. Attendant, Second. GT I, V107; GT I, Buan, Princess. KT v611. VI (p. 992); FM 4, V4. Attracta. HE II, 32; vIV, 171. Cahel, Delia. CnH 333, v334. Caoclte. DG I, 302. Barach. BS I. Chamberlah KT 388, v38B. Bartley, Father. WN IV, 2, 372; V, Charioteer, Another. GH 165, v165; 93d. P·438. • The character appears but does not speak. INDEX--PART I 1321 Child. WN II, 124; V124. Dancer, First. WN IV, 2, 63. Child, A. WN II, 205; V213. Dancer, Second. WN IV, 2, 67; v71. Child, Another. WN II, 115; V1I9. Decima. PQII, 94; V1I5. Child, First. HG (P), 390, v395; (V) Dectora. SW 208, v208. 526, v526. Deirdre. D 154, V149. Child, Second. HG (V) 526, v526. Diarmuid. DG I, 286. Child, The Other. HG (P), 391, V391. Dowler, Mr. WN I, 340; v34I. Chorus. HW V250; DB v [directions] 763; KO 107, V109; OC 110, V1I2. Ebremar. MIl, 39; v42. Christ. C 44, V50; *R pp. 928, 929. Egyptian, The. R 17 (P.902). Ciano KT 202a. Eithne Inguba. OJ 52, v93; FW 52; Citizen, First. PQI, 107; V175. DC I, VI. Citizen, Fourth. PQI,312. Emer. GH 209, V213; p. 444; OJ 50, Citizen, Second. PQ I, 108. v50; FW 50. Citizen, Third. PQI, 113; V191. Enchantress. IS II, 3, 18; v18. Cola. M I, 42; 41a. Eofe (Aoife). *HW p. 411. Colin. IS I, 1,8; v32. Essa. KT 543£ Colman, Father. WN IV, 2, b; 254a. Executioner. *D p. 383. Conall (Conal). GH 3, V3; p. 422. Conall's (Conal's) Wife. GH 208, v244; Faery Child, A. LHD 250, v250. P·444· Fand. *FW p. 554. Conan the Bald. DG I, 34. Father Hart. LHD 17, V17. Coneely, john. PB 19, V20. Father john. US I, I; vI, 39. Coneely, Sibby. PB 16, vI6. Fathna. DG II, 550. Conchubar. D 540, v540; BS 207, Fedelm. KT 683, v683. v207; Concobar. BS 2 I I. Fergus. D 35, v35; DG II, 528. Congal. HE I, I; v27. Figure. S n, 75; v80. Constable. US III, 429; vIII, 431. Finn MacCoole. DG I, 277 Corbet, john. WW 24, v27. Fintain. BS 5. Cormac, King. DG 1,234. Fool. BS I, VI; HG (P) 16, v27; (V) Corney. HE II, I; VI22. 20, v71; HE VI, I; HE VI, 118. Countess Cathleen. CC 71, v72. Forgael. SW 14, v85. Countess Kathleen. CK 163. Friar, A. WN IV, 2, 12; v335. Countryman, A Big. PQ I, 155; VI55. Friar, An Orthodox. WN IV, 2, v338. Countryman, First. PQ I 126; v 153. Friar, First. WN IV, 2, I. Countryman, Second. PQ I, 128. Friar, First Orthodox. WN IV, 2, 305; Countryman, Third. PQ I, 135; VI95. v30 5· Creon. KO 57, v69; OC 690. Friar, Second. WN IV, 2, 2. Cripple. KT v664. Friar, Second Orthodox. WN IV, 2, Cripple, A. KT v664. 307; v307· Cripple, First. KT 209, v208. Friar, Third. WN IV, 2, 5. Cripple, Other. KT v670. Cripple, Second. KT 214, V214. Gardener. CC 364c; CK 116. Crowd, One of the. WN V, 426; v429. Gillane, Bridget. CnH 9, VIO. Cuchulain. HW v86; GH 46, V49; Gillane, Michael. CnH 40, v81. GH p. 427; BS 200, V200; DC 10, Gillane, Patrick. CnH 2, V7. VIO. Gillane, Peter. CnH I, VI. Cuchulain, Figure of. OJ 154, V158; Girl, A Young. DB 152, v152. FW 172. Girl, First. KT 448. Cuchulain, Ghost of. OJ 220, V220; Girl, Second. KT 449. *FW p. 550. Girl, The. DB V152. Cuchullain. BS 170. Goll. DG II, 374. Grania. DG I, 107. Daire. BS 231. Greek, The. R 18, V21. V.F..P.Y.-2 U 2 INDEX-PART I

Green, Mr. WN I, 236; v236. Laeg. GH 164, VI 77; p. 438. Griffan. DG II, 529. Laegaire. GH I, VI; Leagerie. GH Guaire, King. KT I, V2. p·422 . Guardian of the Well, The. *HW p. Laegaire's Wife. GH 208, V215; Lea- 400. gerie's Wife. p. 443. Lally, Biddy. US II, 114; vII, 115. Hearne, Andrew. US I, 150; vI, 150. Lawley, Colonel. WN I, 242; v 250. Hearne, Martin. US I, 284; vI, 291. Lazarus. C 42, V56. Hearne, Thomas. US I, 3; vI, 12. Lulu. *WW p. 947. Hebrew, The. R 19 (p. 902); R17. Herdsman. CC 378rr; CK 240. Mac Kenna, Miss. WW 5, vg. Horseboys. GH p. 441. Maire. CC, v I. Malachi. HE IV, 129; vIV, 129. Inquisitor, First. M I, I03; Vl04. Mallet, Mrs. WW 157, v166. Inquisitor, Second. M I, I09; VI09. Man, A Middle Aged. CC 7 I I, v71 I ; Ismene. DC 285, v285. CK 622. Man, An Old. CK 556. james. He IV, 76; vIV, 88. Man, Another Young. HG (P) 240, jerome, Father. WN I, 49; v49. v243· jimmy Head. WN II, V15. Man, A Young. HG (P) 221, V224. Jimmy Heels. WN II, V15. Man, Blind. BS 13, v35; P 152, V153. jocasta. KO 487, V499. Man, First. PQ I, 74; v74. johneen. WN I, 176; V176. Man, First Old. PQ I, I; VI. johnson, Abraham. WW 79, V93. Man, Old. HW 57, v57; P 4, v4; DC joyce, Mr. WN I, 294; v314. a, vb; DG III, I. judas. C IOO, VI 15. Man, Red. GH 126, v126; p. 435. Man, Second. PQ I, 76; V95. Kate. HE II, 152. Man, Second Old. PQI, 3; VI7. Kevin. CK 665. Man, The. CK 627. King, A. BS 285, v368. Man, Third Old. PQ I, 42. King, An Old. BS 243, 543a. Man, Young. HW 76, v76; GH 30, v44; King, A Young. BS 244, 365. p. 425; BS 309, 457; HG (P) 492, King, Another. BS 286. v492; DB 34, V34; DG III, 2. King, Another Young. BS 244. Manager, Stage. PQ II, 287; v294. King, First. BS 3IO, v467. Mary. CC I, v3; CK I; HE II, 1413; King, First Old. BS 467. vII,239· King, First Young. BS 166. Mathias. HE IV, 70; vIV, 73. King, Fourth. BS 312. Mayor of Kinvara, The. KT 203, 202a. King, Fourth Old. BS, V563. Men, All the Young. HG (P) 249. King, Fourth Young. BS 174. Merchant, First. CC 192, 182h; CK King, Second. BS 3 I I. 82. King, Second Old. BS, V555. Merchant, Second. CC 240, I93s; CK King, Second Young. BS 168. 85· King, The. GT 17, VI05; GT 17, VI9 Messenger. D 375, v375; KO 712, (P·992 ). v794· King, The Young. BS 252. Messenger, Second. KO 1005, VIOI5. King, Third. BS 3 I I. Mike. HE II, 18. King, Third Old. BS v566. Mob, One of the. WN V, 413; v413. King, Third Young. BS 172. Molly the Scold. WN II, 46; vIII, 58. Kings, Other. BS 566. Monk. KT 432, v43ti. Kings, The. BS 368. ~f()nk, First. M II, I; V19. Knight, Old. S I, 13; V20. Monk, Se:ond. 1\1 II, 4; v9. Monks. WN IV, 2, 399. Laban. DG I, I08. Morrigu, The. DC 184, v184. INDEX-PART I

Mosada. M I, I; Ia. Pupil, Second. HG (V) 3, v36. Musician, FiTSt. D I, V2; HW 17, VI7; Pupil, Third. HG (V) 5, v6. OJ I, V5; FW I; DB I, VII; C I, V2; Pupil, Youngest. KT 166, vI66. CM I,VI. Pupils, Other. HG (V) 364, v364. Musician, Second. D 8, v8; H\V 19; VI9; C 5. Queen. PQ II, 43; v49; FM 29, V36; Musician, Third. C 6. * GT pp. 900-1 Musicians. HW I, V2; DB 283, v283. Roman Soldier, First. C 141. Musicians, Three. R I, V2; R I (p. Roman Soldier, Second. C 142, VI53. 902 ). Roman Soldier, Third. C 143, VI56. Ruttledge, Mrs. WN I, 18; vI8. Nanny. US I, 539; vI, 539. Ruttiedge, Paul. WN 1,3; v4. Naoisi. D 152, VI76. Ruttiedge, Thomas. WN I, I; VI. Naschina. IS I, 1,99; vII, 3, 36. Neal. CK 769. Sailor, First. SW I, v63. Neighbour, His. HG (P) 264. Sailor, Second. SW 4, V44. Niall. DG I, I. Scullions. GH p. 441. Nona. PQII, 17; V27. Seanchan. KT 93, v93. Senias. KT v16. Oedipus. KO I, V34; OC I, VI21. Septimus. PQ I, 39; v39. Old ,,,,'oman, The Poor. CnH 138, Servant. CC 364a; CK 184; DC 78, VI43· v86. Oona. CC 84, v84; CK 163. Servant, A. GH 193. Shemus Rua. CC 29, v29; CK 17. Paddy Cockfight. WN II, 88; v257. Sheogue. CK 397. Pat. HE III, 8; vIII, 12. Shepherd. DG II, 445. Patterson, Cornelius. WW 174, VI 75. Shepherd, First. S I, I; v3. Paudeen. US I, 533; vII, 155. Shepherd, Second. S I, 6; v6. Peasant. CK 597. Shepherd, Third. S I, 9; v35. Peasant, A. CC 72 I; CK 702. Sidhe, Woman of the. OJ 226, V'227; Peasant, Another. CC 723; CK 728. *FW p. 554. Peasant, First. CC 383a; CK 284. Silver, Sabina. WN II, 155; v167. Peasant, Fourth. CC 664. Singer. DC 196, V196. Peasant, Old. CC 62 I a. Singer (Street-Singer). DC 196, VI96. Peasant, Second. CC 383f; CK 289. Sleeper. IS II, 3, 286. Peasant, Third. CC 663. Sleeper, Fifth. IS II, 3, 307. Peasant, Young. CK 783. Sleeper, Fourth. IS II, 3, 299; v299. Peasants. CC 385, v885. Sleeper, The. IS II, 3, 286; v30 I. Peasants, Other. CC 885. Sleeper, Third. IS II, 3, 292; v293. Peter. HE V, 45. Soldier. KT 440, v428a. Player, Fifth. PQ II, v430. Sowlth. CK 454. Player, First. PQ II, 393; v345a. Spirit. CC 535aa; CK 808. Player, Fourth. PQ II, v423. Spirit, Fifth. CC scene IV, e. Player, Second. PQ I I, 395; v35 I a. Spirit, First. CC 535u; CK 824. Player, Third. PQ II, 397; V422. Spirit, Fourth. CC scene IV, d. Players, Other. PQ II, v448b. Spirit, Second. CC 535w. Polyneices. OC 1164 v1169. Spirit, Sixth. CC scene IV, f. Porter. CC G30; CK 571. Spirit, Third. CC 535zz. Priest. KO II, VII. Stable Boy, A. GH '76. Prime Minister. PQ II, I; V2. Steward. CC 364, 378hhhh; CK 279. Princess, First. KT 6 I I, v6 I I. Stranger. OC 340. Pupil, First. HG (V) I, VIU. Stranger, A. DB 35, v35. Pupil, Fourth. HG (V) 7, v9. Stroller, The. GT 32, v33; GT 33, Pupil, Oldest. KT 16, Viti. v47· (p. 994)· INDEX-PART I Superior. WN IV, 2, 75; v78. Voice, Fifth. IS II, 3, i I. Swineherd. FM 33, v34. Voice, First. IS I, 3, I; v8. Syrian. R 250, v254; R 300 (p. 920). Voice, Fourth. IS II, 3, 7. Voice, Second. IS I, 3, 6; VI4. Tapster. PQI, 170; V227. Voice, Sixth. IS II, '3, 12. Teig. CK I, CC VI. Voice, The. IS II, 3, 176; vI80. Teigue. CC 2, V2. Voice, Third. IS II, 3, 6. Tevish. CK 452. Voices. IS II, 3, 82. Thernot. IS I, I, I; V22~ Theseus. DC 531, v888. Ward, Charlie. WN I, 172; V172. Thivish. CC 543ee. Wise Man. HG (P) I, v6; (V) 50, v50. Time. TV 15. Woman. CC 789; CK 642. Tinkers. WN II, 347; v347. Woman, A. CC 729, v729; CK 638. Tiresias. KO 210, V2II. Woman, Another Peasant. CC v885. Tommy the Song. WN II, 12; VI5. Woman, A Peasant. CC v885. Tramp. PBI,VII. Woman, First. BS 614, v614. Trench, Dr. WW I, v3. Woman, Old. CC 781; PQ I, 52; v53. Woman, Second. BS 614, v614. Usheen. DG I, 287. Woman, The. CC 734, v734. Woman, The Old. CK 698. Vivien. TV I. Woman, The Old Peasant. CC v78I. Voice. IS I, 2, 60; v6o. Woman, Third. BS 616. Voice, A. GH 257, v257; IS I, 2, 56; Women, Other Peasant. CC 885, v885. vII, 3, 117· Women, Peasant. CC 885, v885. Voice, Another. GH 258; p. 450. Women, The. BS 393, v394. PART II General Index

Abbey School of Ballet. 1009 Arbuthnot, Dr. 950 Abbey Theatre. 173-4, 177,211-12,233, ArcadY·1171 254,318,343-4,389-91,396,416,421, Archbishop Downey. 933 454,526-8,640,646,712-13,761,792, Archbishop King. 958 809,899,937,990, 1050, 1294-5, 1303, Ardroe. 1285 1306, 1309-1-2, 13 15-18 Ariosto. 1298 Abeignos (Abiegnos). 714 Aristides. 961 Achilles. 572, 917, 968, 972 Armagh. 389 Adams, Henry. 962 Arrow, The. 340, 389 Adelphi, The. 900-1 Arthur, King. 1282-3 Adene (Edain, Edane, Edene, Etain). Asia. 965, 1308 178,213, 1284-5 Athena (Athene). 899 Adonis. 924 'At Parnell's Funeral' [Yeats]. 1309 Adoration of the Magi, The [Yeats]. 932 At the Hawk's Well. 398-414,416,418-19, A. E. [Geo. Russell]. 568 529,567,572,762,805,932,979,1057, Aengus (Angus). 1283-5 1304-6, 13 15 Mghanistan. 789 Augenish (Aughanish). 779 Agrippa, Cornelius. 777 Aughmans (Aughtmana). 779 Aherne, John. 778, 789-90 Ave [Moore, Hail and Farewell]. 1169 Aibric. 340, 342-3, 1314 Ave Maries (Ave Marys). 178 Aidhne, plain of. 254 Avenue Theatre. 211, 1313 Ainley, Henry. 416, 418,1171,1315,1318 Alcibiades. 961 Babylon. 571 Aleel. 173-6, 1313 Bacach (Bocach), Johnny. 712-14, 1316 Alexander & Colby [attorne~]. 1166 Bacchus and Ariadne [Titian]. 1298 Alexandra (Alexandria), Queen. 416, Bagdad. 778 418- 19 Baile and Aillin. 1283 Allan (Allen). 178 Bailevelehan (Bailevlehan, Balyvelehan). Allgood (Algood), Sara (Sarah). 315, 779 389-90,454,526-7, 1009, 13 15 Balfour, Arthur. 1310 Allt, Peter. [iii], ix 'Ballad of Father Hart, The' [Yeats]. Almhuim (Almhuin). 316 1283 Alterations in Deirdre. 389, 396 'Ballad of Moll Magee, The' [Yeats]. America. 173, 176, 211-12, 233, 254, 340, 1283 342-3, 1309 'Ballad of the Old Fox Hunter, The' Anderson, Sally. ix [Yeats]. 1283 Angel. 174, 176,640, 789, 1320 Ballisodare. 232 Antheil, George. 567, 572, 1308 Ballygawley (Ballygawly, Ballydawley). Anthony. 1297, 1300 21 3 Antient (Ancient) Concert Rooms. 176, Balor. 1285 13 13-14 Balzac, (Honore). 568-9, 932 Antithetical Self. 761 Banachas (Bananachs). 527 Antithetical Tincture. 805 Barach. 1285 Aoife (Eofe). 526, 419 'Barbara Allan'. 417 Appeal from the New to the Old Whigs Bardaisan. 807 [Swift]. 958 Barrington, Sir John. 960 Aquinas. 574 Becker, William. 1168, 1171 Arabia Deserta [Chas. Doughty]. 566 Bedell, Thelma. ix 1325 GENERAL INDEX

Beerbohm, Sir Max. I 170 Cardinal Mercier. 934 Beggar, Lame. 805 Carolan, P. J. 809, 13 I 7 Beltaine. 1312 Carolo, Madame S:ln. 173, 1313 Benson, l\1rs. F. R. 1171, 1318 Carrick, John. 1315 Benson, Sir Francis Robert. I 170- I, 1319 Carrick-orus (Carrigoras). 647 Berkeley, George. 574,957,959-61,964- Carthage. 962 965 Castiglione. 566 Bibby, Charles. 1171, 1318 Castle Rackrent [Edgeworth). 960 bird, speckled. 1105 Cat (}.nd the Moon, The. 792-804, 806, 808, Bjersby, Birgit. 13 I 8 936, 1308, 13 17 lllake, vVilliam. 180, 935, 939, 967 Cathleen ni (/I)') Houlihan (Hoolihan). 21 I, blank verse. 340, 1295 213,214-31,232-5, 1295, 13 12-13 Blenheim. 959, 965 Catholic. 933, 963 Boean:lchs (Bonachas). 527 Catholic Scholars, Commission of. 933 Bodb·391 Cato. 958, 967 Bonyeen. 1285 Cato the Younger. 963 Book of Common Prayer. 1300 Caufield, Mr. C. (C. C.). 233, 644-5, Bourke, Dan. 129 I 13 13 Bourke, Mary. 2-3 Cavendish Square. 1315 Boy. 809, 1172, 1317, 1318, 1319 Celbridge. 960 Boyne, Battle of the. 806, 959-60, 97 I Celtic Twilight, The [Yeats). 232-3, 806 Breen, D. 809, 13 I 7 century, eighteenth. 573; fourteenth. Bricriu. 543, 550 573; nineteenth. 960; seventeenth. 'Bricriu, The Feast of'. 454 573; thirteenth. 573; twelfth. 1009 Bridget. 640, 13 16 Certain Noble Plays ofJapan, Introduction Brig (Brigit). 1285 to [Yeats). 415-16, 419, 1304 Brighton. I 170 Chamberlain, Lord High. 315, 1314 Browne, Sir Thomas. 957 Chance. 790- I Brownes (Browns). 714 Charles the Second. 968 Browning, (Robert). 21 I Chartres Cathedral. 178 Bruin, Bridget. 2 I I, 13 13; l\hire. ~ II, Chaucer. 13 I 0 1313; Maurteen. 211,1313; Shawn. Chester, Allan. ix 2 I I, 1313 Chesterfield Gardens. 416-18 Brutus. 958, 963, 967 Chesterfield, Lord. 964 Brutus, Junius. 963 Children. 809, 13 I 6- I 7 Brydone, Alfred. 47 I, 13 I 8 Chinese painting. 934 Buddhist. 777 Chinese philosopher. 569 Bullen, (r\. H.). 254 Choice. 790-1 Burke, Edmund. 957, 961 Chor~s. 809, 1317 Burne-Jones, (Sir Edward). 1167 Chorus, Leader of the. 809, 1317 Burton, Wilfred C. ix Christ. 389, 790, 933, 963, 1305 Byrne, P. 1315 Christian. 807, 934, 963 Byzantine painting. 1298 Chrysostom. 952 Byzantium. 573 Church. 417 Churches, The Seven. 573 Caesar. 572-4, 790, 933, 935, 962-3 Cibber, Colley. 1294 Cahel, Delia. 233, 13 I 3 Cicero. 935 Cailitin. 1285 Cimabue, Giovanni. 1290 Calvary. 780-8, 79 I, 1304-5, 1309, 13 I 7 Cingalese girls' school. 1009 Cambridge. 526, 958-9 Cithaeron (Cythaeron). 851 Campbell, Mrs. Patrick. 344, 390-1, 397, Citizen of the World, The [Goldsmith]. 958, 1170 965 Caoelte. I 17 I, 13 I 8 Clarendon Street. 1313 Cardinal. 173 Clarke, Austin. 13 I 8 GENERAL INDEX

dauber. 1285 Creon. 81l, 1317 Cleopatra. 1298, 1302 Cripple, A. 315, 1314 Clout, Colin. 1295 Criterion, The. 792 Coleridge, S. T. 1283 Croaghpatrick (Cro-Patrick). 178 Collected Works [Yeats]. 527 Croce, Benedetto. 962 Colum (Columb), Patrick (Padraic). 315, Cromwell, Oliver. 958, 961, 968 568,640,644-5, 1308, 13 14, 13 16 Crookes, Sir \Villiam. 571, 935 'Commentary, A'. 975 Crossways [Yeats]. 1288-9 Commentary on 'The Great Clock Crowe, Eileen. 809, 1317 Tower'. 101 I Cuala Press. 417-18, 1304 Commonplace Book [Berkeley]. 961 Cuchulain (Cuchullain, Cuhoollin). 45.4- Communism. 935 527-8,568,572,932,1283,1285,1305- Communist. 933 1307, 13 15 Conal (Conall, ConaII Cearnach, ConaII Cuchulain, Death of. 568 Muirthemne). 454, 484, 490, 1053, Cuchulain of .Muirthemne [Lady Gregory]. 1056, 1061, 1315 389,454, 567, 1282-4, 1291, 1293 Conal's Wife. 454, 13 15 Cunard, Lady. 1169, 1315 Conan the Bald. 1171, 1313 Cutting of an Agate, The [Yeats]. 419,761, Conchubar (Conehobar, Concobar, Con• 130 4 hor). 389-90, 396, 52G-7, 932, 1058, 1285, 13 14 Dagda·458 'CongaI' [Samuel Ferguson]. 13I! Da1l·573 Congreve, William. 1297 Daire·526-7, 1315 Connaeht (Connaught). 455, 573, 779, Danaan (Tuath De Danaan). 1285 967, 972, 975 dance play. 807 Connemara (Connemare). 779 D' Annunzio. 569 Connolly, Speaker. 960, 964 Dante. 789, 963, J 3 10 Conroy, William. 315, 1314 Darlay, Arthur. 389 Constitutional and Parliamentary History of Darragh, Miss. 343-4, 389-90, 1314 Ireland [MacNeill]. 959 Davis, Thomas. 957, 970, 973 Conversations [Landor]. 957 Death ofCuchulain, The. 1051-63, 1318 Convito [Dante]. 789 Debussy (Claude). 1301 Coole. I 169, 1292; Coole Park. 1309 Decima. 13 I 6 Cooper, Bryan. 959 Dectora (Dectera). 178, 340-3, 1285, Coopers of Markree. 959 13 14 Corbet, John. 967 Dedication to 10, loa. 1167, 1292 Corkery, Daniel. 1308 Dedication to II. 232 Cork Realists, The. 568 de Flora, Joachim. 932 Cormac, King. 1171, 1318 Deirdre. 344-88, 389-97, 567, 572, 1009, Countess Cathleen (Kathleen), The. 1-169, 1284, 1299, 1301, 1306, 1314; Deirdre. 173-8,212, 1283, 1288-91, 1295, 1303, 389-97, 1285, 1287, 1302, 13 14 1306, 130 9, 13 13 Deirdre of the Sorrows [Synge]. 567, 1301 County Mayo. 808 Delaney, Dr. 966 County Sligo. 808, 959 Democracy. 961 Court Lady, A. 315,1314; Another. 1314 Demon, First. 173, J 3 I 3 Court Theatre. 415 Demon, Second. J 73, 13 I 3 Covent Garden. 13 I 6 Demons. 173, 177 Cowley, Abraham. 957 Derry, siege of. 960 Cracked Mary. 254 Dervorgilla. 777-9, 1305 Craig, Edith. I 167 Deserted Village, The [Goldsmith]. 961 Craig, Gordon. 396, 644-5, 993, 1167, de Valois, Ninette. 574, 991, 1010, 131 I 1301, 1306 de Vcsmes, Cesar. 969, 972, 975 Craig, l\,Iay. 809, 967-8, 975, 1317 De 'Wilton, R. L. ix Crane, Genevieve. ix Dial, The. 7 I 5, 792 GENERAL INDEX

Dialogues [Landor]. 973 Elizabethan play. 570; singer. 1010; Diarmuid. 1171-2, 1318 stage. 1289 Diarmuid and Grania. II68-1222, 1318 Elizabeth, Queen. 96 I, 973-4 Dickens, Charles. 1296 Ellis, Edwin. 315, 526, 1284 Digges,]. W. 640, 1316; T. Dudley. 233, Elwes, Gervase. 1008 644-5, 13 13 Emain (Emain Macha, Emen). 496, Dillane, Mrs. 129 I 1053, 1285 Dillon, Walter. 809, 1317 Emer. 454, 57 1, 1031, 13 15 Discourse of the Contests and Dissensions Emmet, Robert. 568 between the Nobles and the" Commons in Endor, witch of. 976 Athens and Rome, A [Swift]. 961, 964, England. 2 I 1-12, 568, 959, 966 97 1,974 English. 235, 957, 959, 1282; actors. Discourse upon Arts and Sciences [Rousseau]. 1295; Dissenters. 963; materialism. 967 959; pigsties. 960; Privy Council. doctor, Arab. 778 959 Dolan, Michael. 809, 1050, 1312,1317-18 Ennead [Plotinus]. 970, 973, 976 Dolmetsch, Arnold. 1008-9 Eofe (Aoife). 419, 526 Donegal. 170, 1283 Epaminondas. 963, 971, 974 Donough (Donogh, Donnogh). 234, 779 Eri (Erie). 178 Douglas, Captain. 1310 Esperanto. 572 Draft of xxx Cantos [Pound]. 569 Essays [Yeats]. 1304 drama, poetical. 1283, 1296 Essays and Introductions [Yeats]. 1304 Dramatis Personae [Yeats]. 1169 Europe. 568-9, 573,714,958,1295,1302, dramatists, Greek. 569 1308 Drapier Letters [Swift]. 959, 964-6 European. 568,969, 972 Dreaming of the Bones, The. 762-76, 778, Evans, Edith. 1316 805, 1304-5, 13 17 Executioner, Dark-faced. 390, 1314 Dublin. 2 I I - I 2, 232-4, 340, 342-4, 389- 390,415-16,526-7,571,573,640,644- Faery Child, A. 211, 1313 646,809,850,957; 970, 1050, 1169-71, Fairy and Folk Tales of the Irish Peasantry 1282-3, 1291-2, 1294, 1297, 1301, [Yeats]. 177 1303, 1305-10, 1312-14, 1316, 13 18 Fallan, Mrs. 1291 Dublin Huguenots. 960 Fallon, Gabriel]. 809, 1317 Dublin Magazine, The. 574, 973-6, 1172 Falstaff. 1297 Dublin University Review, The. 1223-4, Fand. 511, 550, 554, 556, 561 , 564 1259, 1263 Farce, Heroic. 420 Duchess of Malfi, The [Webster]. 1289, Fardy, Edna and Raymond. 809, 1317 1291 Farmiloe, T. M. ix Duhem, Pierre. 936 Farr, Florence. 173, 181, 340, 342, 851, Dulac, Edmund. 399, 412, 416, 4 18, 1008-9, 1294, 1313 1305, 13 15 'Fate of the Sons ofUsnach'. 1284 Dundrum. 415, 1304-5 Father Hart. 21 I, 1313 Durkin, T. 1315 Father John. 712-13, 1316 Dutch cabinet-makers. 965 Fathna. 1171, 1318 Fay, Frank,]. 256, 315, 340, 342-3, 389- Early Poems and Stones [Yeats]. 1292 390, 526-7, 640, 644-5, 712-13, 1294, Edain (Edane, Edene, Etain, Adene). 13 14-16 178,213, 1284-5 Fay, Mr. 314, 526 Edgar, Stuart. 1171, 1318 Fay, William G. 233, 254, 315,457,526- Edgeworth, (Maria). 960 527, 712-13, 13 13- 14 Einstein, (Albert). 934 Feacra (Fiachra). 213, 1285 Electra. 958, 970, 973 'Feast of Bricriu, The'. 454, 1284 Elgar, Edward. 1171 Fedelm. 315, 1314 Eliot, T. S. 1308 Fenian (Finian). 178, 1285 GENERAL INDEX

Fergus mac Rogh. 389-96, 1171, 1285, Garrick, David. 960 1314, 13 18 Garvey, Miss. 527 Ferguson, Sir Samuel. 1311 Gatch, Katherine. ix Fiannta Eireann (Fiannta-h-Eireann). Gautier, Theophile. 1295 255 Gerhardt, Elena. 1008 Fighting the Waves. 528-64, 567, 574, 1009, German. 571, 933, 1282 1308-9, 13 16 Gillan, Bridget. 233, 13 I 3; Michael. 233, Finn, M. 809, 1317 13 13; Patrick. 233, 13 I 3; Peter. 233, Finnhua (Finula). 316 13 13 Finn (Fin, Fion) MacCoole. "71-2, Glanvill, Joseph. 968 1285, 13 18 Gods and Fighting Men [Lady Gregory]. Finvara (Finvaragh, Finvarra). 21 3, 779, 567, 1282-3, 1291, 1293 1286 Goethe, (J. W. von). 964 Fi tzgerald, Barry. 809, 13 I 7 Gogarty, Dr. Oliver. 569 Fitzgerald, Lord Edward. 568 Golden Helmet, The. 420-53, 454, 1315 Fiume·569 Goldsmith, Oliver. 957-8,961 Flournoy, Theodore. 975 Goll mac Morna. 1171-2, 1318 folk-drama, Irish School of, 233 Gonne, !vIaud. 2, 233, 1313 'Folk History Plays' [Lady Gregory]. Gonzales, Eva. 1297 572 Good-Natured Man, The [Goldsmith]. 961 Folklore. 170 Gorky, Maxim. 933 Fomoroh. 1286 Gorman, Eric. 809, 13 I 5, 1317 Fool. 526-7, 640, 644, 932, 1301 , 13 15- Gosse, Edmond. I 167 13 16 Grace, Valentine. 173, 1313 Fool, Fat, of folklore. 645 Grammont Memoirs. 958, 971 Fool, Thin, of modern romance. 645 Grania. 1171-2, 1319 Forbes-Robertson, Sir Johnston. 1170 Grasshopper, The [Padraic Colum]. 1308 Ford, Battle of the. 568 Greece. 315, 573 Forgael. 340, 342-3, 1314 Greek. 572-4, 1009; music. 1008; play. Forum, The. 420 1009 Foss, Mr. G. R. 211, 1313 Greek, Byzantine. 573 Foulds, Mr. 4 16, 418, 1315 Green Helmet, The. 420-53, 567, 572, 1284, Four Evangelists. 933 1305-6, 13 15 Four Plays for Dancers [Yeats]. 575, 805, Gregor, Arthur. ix 1306 Gregory, Lady. 232-4, 254, 389, 567-8, Fox, T. J. 454, 13 15 572,712-13,806-8,933,937, 1169-70, Franklein, Lucy. 1171, 1319 1282-4, 1291-5, 1306-7, 1309, 1312 Fraser, Winifred. 211, 1313 Gregory, Robert. 340-4, 389-go Free State. 572 Griffan. 1171-2, 1318 French. 568, 1282; Huguenots. 963; Guaire, King. 315, 1283-4, 1314 landing. 234; Revolution. 960 Guardian of the Well, The. 416, 418, Frobenius, Leo. 962, 971 13 15 Full Moon in March, A. 978-89,1311-12, Gulliver. g60, 963, g65, 967, 971 13 18 Gunning, Dora. 315, 526-7, 1314 Furies. 899 Gunning, Doreen. 526, 1315 Gymnosophists. g65, 971 Gyraldus. 566 Gael, The. 236 Gaelic. 572-4, 806, 957; League. 805-7; Hail and Farewell [Geo. Moore]. 1170 legend. 1010; poet. 960 Hamilton, S. 454, 1315 Gaiety Theatre. 1171, 1318 Hamlet. 1297-8 Galway. 805-6 Hampden, Walter. 1171, 1318 Gaol Gate, The [Lady Gregory]. 1308 Hannen, Nicholas. 1316 Gardener. 173, 13 I 3 Harford, F. R. 1315 GENERAL INDEX

Harley, Lord Treasurer. 964 Ireland. 232, 234, 415, 568-9, 572-3, 807, Harper's Bazaar. 398, 417 932,959-60,966,971,974, 1288, 1293- Hart, A. L. Jr. ix 1294, 1304, 1307 Haughton, C. 809, 1317 'Ireland after the Revolution' [Yeats]. Hayley, (William). 967 899. Heard, Gerald. 962 Ireland, ancient. 340; Gaelic-speaking. Hearn, Lafcadio. 934 572 Hearne, Andrew. 712-13, 1316; Martin. Ireland, Ancient Legends qf [Lady Wilde]. 712-13, 1316; Thomas. 712-13, 1316 640, 646, 1284 Heaven and Hell [Swedenborg]. 808 Ireland's Abbl!.Y Theatre [Robinson]. 1313 Hegel, (G. W. F.). 934 Irish century. 958; Church. 959 n.; 'He Gives His Beloved Certain Rhymes' country people. 806; Court of Ex• [Yeats]. 1010 chequer. 959 n.; Courts. 959 n.; Heine, (Heinrich). 1010, 1311-12 Crown. 959; dialect. 254; drama. 177, Henderson, W. A. 1304-5 567, 1295; Folk Tale. 577, 645-6; Henry the Fifth. 1297 Government. 572; hatred of abstrac• Henry VII. 959 n. tion. 961; Helen. 389; history. 1294; Herdsman. 173, 1313, 1317 intellect. 959; landed aristocracy. 959- Heme's Egg, The. 1012-40, 131 I, 1318 960; legend. 389, 1294; literature. 177, Hessian, Ann. ix 567; literature, classical. 1282; mines. History of Experimental Spiritualism, A [de 960; names. 1282; novelists. 254; Par• VesmesJ. 975 liament. 959; people. 1294; scholar. Hitler, (Adolf). 1310 1282; schools. 574; tavern. 960 n. Hobbes, (Thomas). 570, 574 Irish Dramatic Movement, The. 1307 Hofmannsthal, (Hugo von). 958 Irish Homestead, The. 1224 Hogan, Mrs. Marilyn. ix Irish Literary Society of New York. 2 I I Holland. 567 Irish Literary Theatre. 1171,1289,1313, Holmes, Charles. 173, 1313 13 18 Homer. 567, 569, 1008 Irish National Dramatic Company. Homeward Songs by the Way [A. E.]. 568 13 13- 14 Hone, (Joseph M.). 966 n. Irish National Theatre. 314, 526 Horatio. 1297 Irish National Theatre Society. 314-15, horned owl. 1286 340,526, 13 14-16 Horseboys. 454, 13 I 5 Irish Prose Romances, Old. 314, 526 Hour-Glass, The. 2 I I, 527, 576-639, 640, Irish State Theatre. 1307 644-5, 1284, 1296, 1301 , 1304, 1306, Irish Theatre. 1292, 1307 1309, 13 16 Island of Statues, The. 1223-58, 1319 Howth.1283 Islington, Lady. 416 Hugel, (Karl A. S ) Von. 934 Istain (Istian). 397 Hughes, Herbert. 526 Istar (Ister). 85 I Huguenots, Dublin. 960, 97 1, 973 Ito (Itow), Mr. 416-18, 1315 Hyacinth Halvey [Lady Gregory]. 1293 Hyde (Douglas). 806 Jackdaw (The) [Lady Gregory]. 572 Japan. 415-19, 1302 Imperial Conference. 959 n. Japanese. 934; dancer. 417; labour 'In a Balcony' [Browning]. 2 I I leader and Christian saint. 806; model. India. 569, 790, 934 1009; Noh Play. 777; plays. 976 Indian ascetic. 968; phrase. 968; poems. Jewish religious legend. 10 IO 1308 Jocasta.809, 1317 Indians, Canadian. 959 n. Johnson, Dr. (Samuel). 964, 966, 972 'Instead ofa Theatre' [Yeats]. 417-18 Johnson, Lionel. 572 Interpretation of the Cuchulain Legend in the Johnstone, G. Wallace. 1171, 1318 Works of w. B. Yeats, The [Bjersby]. John the Baptist. 1010, 1311-12 13 18 Josephs, P. 315, 1314 GENERAL INDEX

Joubainville, D'Arbois de. 573 Latin. 572-3, 646; literature. 573; medi- Joyce, James . .')68, 962 aeval. 646 Judas. 790, 1305 Lavelle (Saville), Honor. 315, 1314 Judwalis. 566, 777, 789 Lazarus. 790, 1305 Juliet. 417 Leach, MacEdward. ix League, Gaelic. 806-7 Kagawa. 806, 808 Le Chef-d'oeuvre incormu [Balzac]. 569 Kalpas. 934 Leeky (E. B.). 960, 965 Kant, (Immanuel). 574 Legenda~y and Afyt/zolo,gical Foundation of the Karma·96B Pla,)Is, The. 316, 343, 397,455,527,647, Kearney, P. 454, 13 15 128 Keats, (.John). 1008 3-4 Legenda~y and l\~}'thological FOllndation of the Kegan (Keegan), E. 526-7, 1315 Plap and Poems, The. 179, 213, 3 I 6,343, Kells, Book of. 573 1282-3 Kelly, ~liss 1\1. 173, 13 I 3 Leibnitz. 958, 964, 97 1, 973-5 Kelly, 1\1r. P. 315, 1314 Lemoyne, 1\'lrs. 2 I I Kelly, P. I. 640, 1316 Lenin, 933 Kelly, 6"1-+-5 P. J. Les F'owberies de Scapin. 1297 Kerrigan, J. .\1. 389-90, 454, 7 I 2- I 3, Leslie, (Shane, Shaun). 966, 974 13 14- 16 Les "fa/inies de Timothi Trimm [Lespes]. Kevin. 1313 170, 1283 Kilglas (Kilglass). 235 Lespes, Leo. 170, 1283 Kinevara (Kinvara). 714 Letters of W. B. Yeats, The. 1316 n. King, High. 38.') Life and Leiters. 990 King of the (;rcat Clock TOlCeT, The. 397, Limbo. 934 0 100 0 11 18 575, 99 - 7, 13 9- , 13 Limerick, Mona. 390 King, Old. 52(i-7, 1315 Little Review, The. 762 King's Hall. I3! () Locke, John. 574, 964 King's Threshold, 77le. 256-312, 314-16, London. 232, 344, 390, 398, 418, 526, 4 15, !j2()-7, 1283-4, 1293, 1306, 13 14 1169, 1292, 1304, 1313, 1315-16 Kings, Young. 526, 1315 Lost Saint, The [Douglas Hyde]. 1293 Kingen. 80:) Louis the Fourteenth. 233 Knocknagow [Chas. Kickham]. 1283 Lowe, Trevor. 173, '3 I 3 Krause, David. ix Loxias (Loxius). 851 Krishna. 1307 Lugaid (Lugaidh). 397 Krop, Hildo van. ;)28, 567, 57'2 Lunacharsky. 933 Klista ben Luki. 790 Lyceum Theatre. 417 Kzanaclu (Xanadu). 761 Lyric Theatre. 1318 Laban. 1171, 1319 Labdacidae (Labdicidae). 899 McChormac (MacChormac, 1\1acCor- Labdacus (Labdiclls). 85 I mae), Cartia. 315, 1314 Laeg. 4.,)4, 13 I.') McCormick, F. J. 809, 1310, 1317 Laegaire (Leagcrie). 454-5, 13 I 5 MacDonald, G. 526-7 Laegairc's V,,'ife. 454, 13I!j Mcinnes, Campbell. 1008 Lally, Biddy. 712-13, 131b MacKinley (Mackinlay, Mackinley), Lament of Emer, The. 342 Jean. 1171, 1319 Land of Heart's Desire, The. 179, 180-210, Macmillan Company, The. 1166-7 211, 23:h(j47, 1283. 1289-92,1307,1313 Macnamara (Brinslcy). 1308 Landor, (Walter Savage). 957, 970, 973 MacNeill. 959 n. Lane, Sir Hugh. 1297 M' .7':eill (McNeill), Miss. 389 Lang, 1\fatheson. 1171, 1318 MacShiubhlaigh, Maire. 315, 340, 1314 La Peau de Chagrin [Balzac 1. 932 MacShiubhlaigh, P. 315, 526-7, 640, Larminie, \\,illiam. 170, 12B3 13'4-16 Later Pocms lYeats). 343 McTaggart, (J. M. E.), 934 GENERAL INDEX

~adagascar. 969, 975 ~oloney, T. 1315 ~aeterlinck, (~aurice). 1167 ~olyneux, William. 959 ~aeve (~aive). 1283, 1286 ~ommsen. 935 ~agee, ~iss. 454, 1315 ~onck, ~ugent. 646, 1316 ~aire (~ary). 173, 179,211,214, 1313 ~onk. 315, 1314 ~allory (~alory), (Sir Thomas). 1283-4 monoceros de astris (~onocoros di astris ~an, Blind. 526-7, 645; 805, 807-8, 932, (Astris)). 714 13 15 ~oody, (Dwight L.). 968 ~an, Lame. 805, 807 ~oore, George. 808, 1168-71 man, lunar. 777 ~oran, T. 809, 1317 ~an, Old. 416, 418, 1050, 1171, 1315, ~ore, Thomas. 963 13 18 ~organ, Sydney. 454, 1315 ~an, Red. 454, 1315 ~orland (~oreland), ~iss Charlotte. man, solar. 777 211, 1313 ~an, Young. 416-17, 526-7, 1171, 1315, ~orris, William. 1167 13 19 Mosada. 1263-78, 1319 ~anannan (~ananan). 575 ~oses. 933 Manchester Guardian, The. 1009 ~urray, Gilbert. 1009 ~anet, (Edouard). 1297 ~urray, T. C. 1308 ~ann, ~rs. 416, 4 18, 1315 ~useum, ~ational. 573 ~anvantra. 934 ~usicians. 389-90, 396, 805, 1314 ~arat, (Jean-Paul). 967, 972, 975 ~usicians, Three. 416, 4 18, 1315 ~arie Antoinette. 970 ~ussolini. 1310 ~aries. 179 ~arriage ofHe~ven and Hell. 713-14 ~aisi (~aoise). 179, 389-91, 397, 572, ~artyn, Edward. 808 1286, 1299, 1314 ~arx, Karl. 962 ~anny. 712-14, 1316 ~arxian. 933 ~ash, R. 526, 1315 ~asefield, John. 792 ~athanael (~athaniel). 936 mask. 416, 528, 567, 571, 644-5, 805, National Observer, The. 1288 1298, 1305 ~ational Theatre Society, Ltd. 526, Mask, The. 577, 1303 13 14- 18 ~ason, ~r. A. E. W. 211, 1313 ~ew York. 173, 417, 1166-7, 1292, ~ather, Anna. 173, 1313 1304 n. ~aurteen (~urteen). 235 ~iall. 1171, 1318 ~ayor. 315, 1314 ~iam (~eave, ~iamh). 179 ~edley, C. D. 1171 ~icholson, H. O. 1171, 1318 ~ellifont. 573 nic Sheublagh, ~aire. 233, 13i3 ~elville, Dora. 315, 1314 ni (~ic) Shiubhlaigh, ~aire. 315, 342, ~en, Black. 454, 1315 640, 13 16 ~enelaus. 389 ni Shiubhleigh, Eithne. 640, 1316 ~erchants. 174 ni Shiubhleigh, Padragan. 640, 1316 ~eru, mount. 1309 ~oh. 415, 777 ~essenger, A Dark-faced. 390, 396, 1314 ~olan, Peter. 809, 1317 ~essenger, First. 809,1317; Second. 809, ~ona. 1316 13 17 North American Review, The. 576 ~iddle Irish story. 315 ~uala. 1286 ~iller, Jo. ix ~urse. 8og, 1317 ~iller, Liam. ix ~illward, ~r.J. 1171 Ochorowicz. 968 ~iltiades. 961 O'Connor, comtesse Ketty. 171 ~inoan shepherds. 569 O'Dempsey,Brigit (Bridget). 389-90, 712- ~olesworth Hall. 314-15, 340, 640, 644, 713, 13 14, 13 16 13 14, 13 16 O'Doherty, Eileen. 454, 1315 GENERAL INDEX 1333 O'Donell (O'Donnell). 235 Phidias. 1309 O'Donnor, comtesse Ketty. 177 philosopher, Chinese. 569 O'Donovan, Fred. 454, 13 15 Phocion (Phocean). 961 , 973 Oedipus. 573, 809, 13 17 Pius x. 933 O'Grady, Standish. 567, 572, 960 Plato. 934-5; Republic. 569 Oisin (Usheen). 179, 932, 1171, 1283, Platonic Idea. 970; Year. 934-5 1286, 1318 Playboy of the Western World, The [Synge]. O'Leary, John. 957-8 568 Oliver. 958 play, Elizabethan. 570; poetical. 761 On Baile's Strand. 314, 316, 454, 456-525, Player Queen, The. 715-60,933,1306,1316 526-7, 567-8, 572, 645, 932, 1059, Plays and Controversies [Yeats]. 1309 1284, 1293, 1301 , 1306-7, 13 15 Plays for an Irish Theatre [Y eats]. 645 O'Neill, Maire. 174, 390, 454, 712-13, Plays [in Prose and Verse] [Yeats]. 1309 13 14-16 Plethon, Gemistus. 57 1, 574 O'Neill, T. 454, 1315 Plotinus. 934-5, 970, 973, 976 Only Jealousy of Emer, The. 397, 419, 455, Poems (1895) [Yeats]. 1306 527, 529-65, 566-8, 572, 1305-6, 1309, Poetry (Chicago). 529, 978 13 16 Poets and Dreamers [Lady Gregory]. 806 'On the King's Threshold'. 314 poet, thirteenth-century Italian. 1008 Oona. 173, 13 13 Polish psychologist. 968 Orchil (Orchill). 179, 1286 Polybus (Polybius). 851, 961-2, 974 O'Rourke, I. A. 454, 1315;J. A. 712-13, Pooka, 1286 13 15-16 Porphyry. 232 O'Sullivan, Shamus (Seumas). 315, 340, Pot of Broth, The (A). 236-53, 254, 1314 342,526-7,640, 13 14- 16 Pound, Ezra. 415, 568-9 Our Irish Theatre [Lady Gregory]. 1292, Power, A. 390, 1314; Ambrose. 454, 130 7 1315; N. 526, 1315 Owen, Mr. 1171, 1318 'Prayer for Old Age, A' [Yeats]. 1310 Oxford. 526, 970, I 171 Preface to the New Version, A [The Hour-Glass]. 577, 646 Packet to (for) Ezra Pound, A [Yeats]. 933 Preface to 3. 179, 1288 Pages From a Diary Written in Nineteen Preface to 23· 316, 343, 527, 1293 Hundred and Thirty [Yeats]. 178 Preface to 28. 179, 213, 1293-4 Paget, Dorothy. 173,211, 1313 Preface to 29· 235, 255, 647, 714, 1167, Painters' Books of Mount Athos. 573 1295-6 Palermo. 934 Preface to 45· 397, 527, 647, 1296-1301 Palladino, Eusapia. 968, 972 Preface to 48. 179, 213, 1293-5 Paris. 389, 933, 1305 Preface to 52. 179, 1303-4 Parliament House. 960, 971 Preface to 60. 575, 1304 Parmenides [Plato]. 935 Preface to 64· 4 19, 455, 527, 575, 79 1, Parnell, (Charles S.). 568, 957 130 4-5 Parnellite. 568 Preface to 69· 179, 21 3, 316, 397, 4 19, 455, Passion, Body of. 778 527,575,647, 714, 761 , 79 1, 1306 'Pastoral' [Sacheverell Sitwell]. 569 Preface to 7 I. 179, 2 13, 1307 Pater, (Walter). 417 Preface to 'Four Plays for Dancers' in 71. Paudeen. 712-13, 1316 575,791, 1304-5 Peacock Theatre. 90 I, 931 Preface to' The Land ofHeart's Desire' in 7 I. Peasant. 173, 13 13; Woman. 173, 1313 212, 1307 Per Arnica Silentia Lunae [Yeats]. 761 Preface to 75. 527, 792, 808, 1307-8 Pericles. 961 Preface to 79· 851, 1308 Persia. 789 Preface to 83· 575, 808, 936, 977, 1308 Petit Trianon. 970 Preface to 84· 179,575,647,714,791,1309 Petrie, Flinders. 962 Preface to 85. 1011, 1309-10 'Phases of the Moon, The' [Yeats]. 566 Preface to 86. 101 I, 1309- 10 1334 GENERAL INDEX

Prq(ace to 87. 936, 989, 101 I, 1310-1 I Rome. ') 7 I, 963, I !296 Pre/ace to 9I. 989, 10 I I, 1040, 131 I -I 2 Rooney, William. 214 Preface to 93. 235, 1050, 13 I 2 Rosa Alchemica [Yeats]. 952 Prefaces to 5-80. 179, 2 I 2, 1288-92 Rose, The [Yeats]. 1288-90 'Preliminaries,' IV [Yeats]. 527, 574 Rosses Point. 232 Priest. 809, 1317 Rossi, (l\{ario M.). 966 'Priest's Soul, The' [Lady Wilde]. 640-4, Rousseau, (.Jean-Jacques). 960, 967 1284 Royal Court Theatre, The. 13 I 8 Primary Tincture. 805 Rummel, 1\1r. 1305 Prince Mirsky. 933 Russian Government. 563 Princess, A. 315, 1314; Another. 315, Ruttleoge, Paul. 13 I 13 13 14 Prologue [to The King's Threshold]. 3 I 3- I 4 sacva (saevo). 977 Pronunciation of the Irish Words, The. saeua indignatio. 960 1282 St. Colman. 805 Protestant aristocracy. 959 St. John, Marcus. 173, 13 I 3 Ptolemy. 933-4 St. Michael. 976 Pupil, (A). 315, 644-5, 1314, 1316; St. Patrick. 922, 958, 970, 973, 131 I Another. 315, 1314 St. Teresa's Hall. 233, 1313 Purgatory. 1041-9, 1312, 1318 Salamis. 959 Salome [Wilde]. 1010, 1311-12 Quaker sermon. 960 n. Samhain. 214, 389, 396, 1307, 1312 Quinn, John. 1166 Samkara. 569 Quinn, Maire T. 233, 640, 644-5, 13 I 3, Sancall the Bard [Edwin Ellis]. 3 I 5, 526 13 16 Sancho Panza. 712-13 Quinn, Tony. 809, 1317 San Francisco. 2 I I Quixote, Don. 7 I 2- I 3 Sankey, (Ira D.). 972 Sato, J unzo. 90 I Racine, (Jean). 1296 Saul, George B. ix Red Branch. 572-3, 1286 Saville (Lavelle), Honor. 315, 1314 Redmond, Liam. 1050, 1312, 1318 Saviour. 806 Renaissance. 569, 571 Schopenhauer, Arthur. 934 Resurrection, The. 419, 527, 714,761,805, ScierlZ.a Nuova [Vico]. 962, 971, 974 807,900-31,935,1167,1308,1311,1317 Scott, Michael. 809, 1317 Ribh, hermit. 131 I Scott, (Sir Walter). 965 Ricard. 1301 Scullions. 454, 13 I 5 Richet, Professor. 57 I Sea-King. 340 Richmond Bridge. 976 seance (seance). 977 Ricketts, Charles. 1307 Seanchan. 315, 1314 Riders to the Sea [Synge]. 254, 1312 'Second Coming, The' [Yeats]. 932 Robartes, (Michael). 566, 778, 789-90 Secret Rose, The [Yeats]. 232-3, 712, 10 10, Roberts, G. 315, 1314; George. 526-7, 13 11 -12 13 15 Seeker, The. 1259-63, 1319 Robertson, D. 454, 13 I 5 Sefton, Master Charles. 173, 1313 Robinson, Lennox. 212,809,851, 1308, Senate. 573 13 13- 18 Septimus. 13 I 6 Rodney, Frank. 1171, 1318 Sermon on the Mount. 7 I 3 Rogers, T. B., children of. ix Servant, A. 173,315, 1313-14; Another. Rogh (Roigh). 397 3 I 5, 13 14 Roman. 573; Catholics. 959; civilization. Servants. 809, 1317 573; elegance. 959; poetry. 899; Shade. 777-8 republic. 961; rhetoric. 959; Senate. Shadow 0/ the Glen, In the [Synge]. 1293 958; soldiers. 790; theatre. 4 I 6 Shadow), Waters, The. 317-39, 340, 1170, romanticism. 568 1283-4, 1293, 13 14 GENERAL INDEX 1335 Shakespeare. 417, 1171, 1297-8, 1310 Suaitam (Suaitem, Sualtim). 179, 419, Shannachus (Seanachus). 1286 1287 shee (sidhe). 179, 1287 Summum Bonum. 965 Shehone, Morian (Morion). 2-3 'Supernatural Songs' [Yeats]. 131 I Shelley, (Percy B.). 569, 1008, 1296 Swedenborg, (Emanuel). 808, 969, 97~~, Shemus Rua. 173-4, 1313 976 sheogue (sidheoge). 179, 1287 Swete, Lyall. 1318 Shepherd, A. 1171, 1318 Swift, jonathan. 957-67, 970-1, 974-5 'Shepherd and Goatherd' [Yeats]. 777 Symons, Arthur. 1169 shepherds, Minoan. 569; Sicilian, 569 Synge, j. M. 254, 567-8, 572, 806, 1295, Sheridan, (Richard B.). 966 n. 1301-2, 1308, 13 12 Sheridan-Neill, S. 3 I 5, 1314 Systeme du Monde [Duhem). 93'1: n. Shields, Arthur. 80g, 13 I 7 Shiels, (M. P.). 1308 Tale of a Tub [Swift]. 963 sidhe (shee). 179, 1287 Tara. 573 Sigurd the Volsung [Wm. Morris). 570 Tarrant, Ella. I 171, 1319 Sinclair, (Arthur). 342-3, 389-90, 454, Taylor, j. F. 957-8, 964 712-13, 13 14- 16 Taylor, Miss. 1008 Sitwell, Sacheverell. 569 Teig (Teigue). 173, 179,647, 13 13 Sian-Ius (Sian-Ius, Sianlus). 255 Temple, Sir William. 966 Slieve Echtge. :.!3:.! Terry, Ellen. 1167 Smart, (Christopher). 957 tevish (thivish). 179, 1287 Socrates. 963, 970 Thackeray, (W. M.). 1297 Soldier. 315, 1314 Theatre Arts Afagazine. 417 'Son of Aoife, The.' 1284 Theatre Arts Afollth{v. 417 Song to David [Christopher Smart). 957 Themistocles. 96 I Sophocles. 851 Thoor Ballylee. 805 SO/Jhocles' King Oedipus. 809-51,1308.1317 Thoracus (Thoricus). 899 Sophocles' Oedipus at ColoTlus. 852-99, 899, Three Songs of ]0)'. 790 13 17 Time and the Witch Vivim. 1279-81, 13 J 9 Sorel, (Albert). 962 Timon. 1297 Sothern, (Edward H.). 1166 Tiresias. 809, 1317 sowith. 1287 Tir-nan-oge. 932 Speaking to the Psaltery [Yeats]. 851 Titian. 1298, 1302 Speculum [Gyraldus). 566 To-day. 398, 418 Spengler, Oswald. 962 Todhunter, Dr. (John). 212 Spinoza. 964-5, 97 1, 974 Tolstoy, Leo. 713 Spirit. 173, 778, 13 13 Tracy, George 'V. ix Spiritual Being. 77B tragedy, verse. 761 . S/Jirilllal Diary [Swedenborg]. 808 tragi-comcdy. 1297 S/m'ading the News [Lady Gregory]. 233, 'Tragic Theatre, The' [Yeats]. 761, :.!54 1303 Stage Society (London). 761, I di6, 1316, Tramp. 254, 1291 '3 11l Tree of Knowledge of Good and Evil. Stella. 965-6 1298, 130 3 Stendhal. :)611 Tree of Life. 1298, 1303 Stephens, James. ':'72 Tripoli. 789 Stevcllson,J. SO!'1. 1317 Trojans. 573 Stokes, Whitley. 12B2 Troy, Siege of. 569 Strabo. !ii:; Tuatha'de Danaan (of Erin). 570, 1287 Stratford·on-Avoll. 1304 Two Pla)'S for Dancers [Yeats). 1305 Stryzgowski, Josef. Ilo:; Studies U! P.~l'(hiClll Research [Crookes]. Ulad (L'ladh, L'llad). 397, 527 935 Ulster, High King of, 389 GENERAL INDEX

Ulysses [Joyce]. 568; . 976 Wheels and Butterflies [Yeats]. 1309 Unicomfrom the Stars, The. 648-71 I, 712- Where There is Nothing. 712-13, 933, 1064- 714, 933, 1167, 1296, 1306, 1309, 1165, 1166, 1296, 1318 1316 Whig aristocracy. 958 United Irishman, The. 214 n., 234-5, 256, Whitby, Arthur. 1171, 1318 3 14 Whitty, May. 173, 177, 1313 United States. 21I, 1166 Wilcox, Jack. 173, 1313 Upsala. 1318 Wild Swans at Coole, The [Yeats]. 566, Ur·934 805, 1304-5 Usheen (Oisin). 179, 117 1, 1287, 1318 Wilde, Lady. 640, 646, 1284 Usna (Usnach). 397, 1287 Wilde, Oscar. 1010, 1311-12 Utopia. 935 Wilkinson, Mr. T. E. 173, 1313 Williams, D. 809, 1317 Van Dieman (Van Diemen). 714 Williams, E. Harcourt. 1171, 1318 Vanessa (Hester Vanhomrigh). 965-6, Wind Among the Reeds, The [Yeats). 232-3, 975 1282-3, 1289 Variant Spellings. 178, 213, 235, 255, Wise Man, The. 640, 644-6, 1316 316,343,397,419,454,527,647,714, Witt, Marion. ix 761 , 779, 79 1,808,851,899,936,977, Woman of the Sidhe, The. 567 1040 Woolf, Virginia. 568 Varina (Jane Waring). 965, 974 Words Upon the Window-Pane, The. 937-56, Vaughan, Ernest. 712-13, 1316 957,970, 1308, 13 17 Vernon, Emma, 526-7, 1315 Work in Progress (' Work in Transition ') Vico, Giambattista (Giambetta). 806-7, [Joyce]. 962, 974 962, 964, 974 Wren, Sir Christopher. 965 Visions and Beliefs in the West of Ireland Wright, U. 390, 454, 526, 1314-15 [Lady Gregory). 806-7 Wycherley, Miss. 173, 211 Volapuk·572 Xanadu (Kzanadu). 761 Wade, Adam (Allan). 416, 418, 1315, 13 18 Yeats, family of. 959 n. Walford, Mr. 173, 1313 'Yeats on his own Work'. 417 'Wanderings of Oisin (Usheen), The' Yeats, Mrs. W. B. ix, 1171 [Yeats]. 932, 1288-91 Yeats, W. B. 212, 214 n., 234, 314, 389- 'Waste Land, The' [Eliot). 1308 390, 399 n., 419,526,571,577,646,713, Walers of Immortality [Yeats]. 399 777 n., 851, 1050, 1166, 1168-71, 1288- Waves, The [Virginia Woolf). 568 1289, 1291-3, 1295, 1301 , 1304-9, Welch, James. 211, 1313 13 12-13, 13 16 Well rif the Saints, The [Synge). 568, 806, Young, Arthur. 960 1308 West Irish Folk Tales and Romances [Lar•