We could not even get a condensed version of
the dialogue of Oisin and Patrick.
the dialogue of Oisin and Patrick.
Yeats
I
give you the championship because you are without fear, and you shall
win many battles with laughing lips and endure wounding and betrayal
without bitterness of heart; and when men gaze upon you, their hearts
shall grow greater and their minds clear; until the day come when I
darken your mind, that there may be an end to the story, and a song on
the harp-string.
THE IRISH DRAMATIC MOVEMENT
_The Irish dramatic movement began in May, 1899, with the performance
of certain plays by English actors who were brought to Dublin for the
purpose; and in the spring of the following year and in the autumn of
the year after that, performances of like plays were given by like
actors at the Gaiety Theatre, Dublin. In the third year I started
SAMHAIN to defend the work, and on re-reading it and reading it for
the first time throughout, have found it best to reprint my part of
it unchanged. A number has been published about once a year till very
lately, and the whole series of notes are a history of a movement which
is important because of the principles it is rooted in whatever be its
fruits, and these principles are better told of in words that rose
out of the need, than were I to explain all again and with order and
ceremony now that the old enmities and friendships are ruffled by new
ones that have other things to be done and said. _
_March, 1908. _
SAMHAIN: 1901
When Lady Gregory, Mr. Edward Martyn, and myself planned the Irish
Literary Theatre, we decided that it should be carried on in the form
we had projected for three years. We thought that three years would
show whether the country desired to take up the project, and make it a
part of the national life, and that we, at any rate, could return to
our proper work, in which we did not include theatrical management,
at the end of that time. A little later, Mr. George Moore[A] joined
us; and, looking back now upon our work, I doubt if it could have been
done at all without his knowledge of the stage; and certainly if the
performances of this present year bring our adventure to a successful
close, a chief part of the credit will be his. Many, however, have
helped us in various degrees, for in Ireland just now one has only to
discover an idea that seems of service to the country for friends and
helpers to start up on every hand. While we needed guarantors we had
them in plenty, and though Mr. Edward Martyn's public spirit made it
unnecessary to call upon them, we thank them none the less.
Whether the Irish Literary Theatre has a successor made on its own
model or not, we can claim that a dramatic movement which will not
die has been started. When we began our work, we tried in vain to
get a play in Gaelic.
We could not even get a condensed version of
the dialogue of Oisin and Patrick. We wrote to Gaelic enthusiasts in
vain, for their imagination had not yet turned towards the stage, and
now there are excellent Gaelic plays by Dr. Douglas Hyde, by Father
O'Leary, by Father Dineen, and by Mr. MacGinlay; and the Gaelic League
has had a competition for a one-act play in Gaelic, with what results I
do not know. There have been successful performances of plays in Gaelic
at Dublin and at Macroom, and at Letterkenny, and I think at other
places; and Mr. Fay has got together an excellent little company which
plays both in Gaelic and English. I may say, for I am perhaps writing
an epitaph, and epitaphs should be written in a genial spirit, that
we have turned a great deal of Irish imagination towards the stage.
We could not have done this if our movement had not opened a way of
expression for an impulse that was in the people themselves. The truth
is that the Irish people are at that precise stage of their history
when imagination, shaped by many stirring events, desires dramatic
expression. One has only to listen to a recitation of Raftery's
_Argument with Death_ at some country Feis to understand this. When
Death makes a good point, or Raftery a good point, the audience applaud
delightedly, and applaud, not as a London audience would, some verbal
dexterity, some piece of smartness, but the movements of a simple and
fundamental comedy. One sees it too in the reciters themselves, whose
acting is at times all but perfect in its vivid simplicity. I heard a
little Claddagh girl tell a folk-story at Galway Feis with a restraint
and a delightful energy that could hardly have been bettered by the
most careful training.
The organization of this movement is of immediate importance. Some of
our friends propose that somebody begin at once to get a small stock
company together, and that he invite, let us say, Mr. Benson, to find
us certain well-trained actors, Irish if possible, but well trained of
a certainty, who will train our actors, and take the more difficult
parts at the beginning.
give you the championship because you are without fear, and you shall
win many battles with laughing lips and endure wounding and betrayal
without bitterness of heart; and when men gaze upon you, their hearts
shall grow greater and their minds clear; until the day come when I
darken your mind, that there may be an end to the story, and a song on
the harp-string.
THE IRISH DRAMATIC MOVEMENT
_The Irish dramatic movement began in May, 1899, with the performance
of certain plays by English actors who were brought to Dublin for the
purpose; and in the spring of the following year and in the autumn of
the year after that, performances of like plays were given by like
actors at the Gaiety Theatre, Dublin. In the third year I started
SAMHAIN to defend the work, and on re-reading it and reading it for
the first time throughout, have found it best to reprint my part of
it unchanged. A number has been published about once a year till very
lately, and the whole series of notes are a history of a movement which
is important because of the principles it is rooted in whatever be its
fruits, and these principles are better told of in words that rose
out of the need, than were I to explain all again and with order and
ceremony now that the old enmities and friendships are ruffled by new
ones that have other things to be done and said. _
_March, 1908. _
SAMHAIN: 1901
When Lady Gregory, Mr. Edward Martyn, and myself planned the Irish
Literary Theatre, we decided that it should be carried on in the form
we had projected for three years. We thought that three years would
show whether the country desired to take up the project, and make it a
part of the national life, and that we, at any rate, could return to
our proper work, in which we did not include theatrical management,
at the end of that time. A little later, Mr. George Moore[A] joined
us; and, looking back now upon our work, I doubt if it could have been
done at all without his knowledge of the stage; and certainly if the
performances of this present year bring our adventure to a successful
close, a chief part of the credit will be his. Many, however, have
helped us in various degrees, for in Ireland just now one has only to
discover an idea that seems of service to the country for friends and
helpers to start up on every hand. While we needed guarantors we had
them in plenty, and though Mr. Edward Martyn's public spirit made it
unnecessary to call upon them, we thank them none the less.
Whether the Irish Literary Theatre has a successor made on its own
model or not, we can claim that a dramatic movement which will not
die has been started. When we began our work, we tried in vain to
get a play in Gaelic.
We could not even get a condensed version of
the dialogue of Oisin and Patrick. We wrote to Gaelic enthusiasts in
vain, for their imagination had not yet turned towards the stage, and
now there are excellent Gaelic plays by Dr. Douglas Hyde, by Father
O'Leary, by Father Dineen, and by Mr. MacGinlay; and the Gaelic League
has had a competition for a one-act play in Gaelic, with what results I
do not know. There have been successful performances of plays in Gaelic
at Dublin and at Macroom, and at Letterkenny, and I think at other
places; and Mr. Fay has got together an excellent little company which
plays both in Gaelic and English. I may say, for I am perhaps writing
an epitaph, and epitaphs should be written in a genial spirit, that
we have turned a great deal of Irish imagination towards the stage.
We could not have done this if our movement had not opened a way of
expression for an impulse that was in the people themselves. The truth
is that the Irish people are at that precise stage of their history
when imagination, shaped by many stirring events, desires dramatic
expression. One has only to listen to a recitation of Raftery's
_Argument with Death_ at some country Feis to understand this. When
Death makes a good point, or Raftery a good point, the audience applaud
delightedly, and applaud, not as a London audience would, some verbal
dexterity, some piece of smartness, but the movements of a simple and
fundamental comedy. One sees it too in the reciters themselves, whose
acting is at times all but perfect in its vivid simplicity. I heard a
little Claddagh girl tell a folk-story at Galway Feis with a restraint
and a delightful energy that could hardly have been bettered by the
most careful training.
The organization of this movement is of immediate importance. Some of
our friends propose that somebody begin at once to get a small stock
company together, and that he invite, let us say, Mr. Benson, to find
us certain well-trained actors, Irish if possible, but well trained of
a certainty, who will train our actors, and take the more difficult
parts at the beginning.
