No More Learning

I went to Galway Feis, like many others, to see Dr.
Hyde's _Lost Saint_, for I had missed every performance of it hitherto
though I had read it to many audiences in America, and I awaited the
evening with some little excitement. Although the _Lost Saint_ was on
the programme, an Anti-Emigration play was put in its place. I did not
wait for this, but, whatever its merits, it is not likely to have
contained anything so beautiful as the old man's prayer in the other:
'O Lord, O God, take pity on this little soft child. Put wisdom in his
head, cleanse his heart, scatter the mist from his mind and let him
learn his lessons like the other boys. O Lord, Thou wert Thyself young
one time; take pity on youth. O Lord, Thou, Thyself, shed tears; dry
the tears of this little lad. Listen, O Lord, to the prayer of Thy
servant, and do not keep from him this little thing he is asking of
Thee. O Lord, bitter are the tears of a child, sweeten them: deep are
the thoughts of a child, quiet them: sharp is the grief of a child,
take it from him: soft is the heart of a child, do not harden it. '

A certain number of propagandist plays are unavoidable in a popular
movement like the Gaelic revival, but they may drive out everything
else. The plays, while Father Peter O'Leary and Father Dineen and
Dr. Hyde were the most popular writers and the chief influence, were
full of the traditional folk-feeling that is the mastering influence
in all old Irish literature. Father O'Leary chose for his subjects
a traditional story of a trick played upon a simple villager, a
sheep-stealer frightened by what seemed to him a ghost, the quarrels
between Maeve and Aleel of Cruachan; Father Dineen chose for his a
religious crisis, alive as with the very soul of tragedy, or a well
sacred to the fairies; while Dr. Hyde celebrated old story-tellers
and poets, and old saints, and the Mother of God with the countenance
she wears in Irish eyes. Hundreds of men scattered through the world,
angry at the spectacle of modern vulgarity, rejoiced in this movement,
for it seemed impossible for anything begun in so high a spirit, so
inspired by whatever is ancient, or simple, or noble, to sink into the
common base level of our thought.
This year one has heard little of the
fine work, and a great deal about plays that get an easy cheer, because
they make no discoveries in human nature, but repeat the opinions of
the audience, or the satire of its favourite newspapers. I am only
speaking of the plays of a year, and that is but a short period in what
one hopes may be a great movement, but it is not wise to say, as do
many Gaelic Leaguers, who know the weaknesses of their movement, that
if the present thinks but of grammar and propaganda the future will do
all the rest. A movement will often in its first fire of enthusiasm
create more works of genius than whole easy-going centuries that come
after it.

Nearly everything that is greatest as English prose was written in a
generation or two after the first beautiful use of prose in England:
and Mistral has made the poems of modern Provence, as well as reviving
and all but inventing the language: for genius is more often of the
spring than of the middle green of the year. We cannot settle times and
seasons, flowering-time and harvest-time are not in our hands, but we
are to blame if genius comes and we do not gather in the fruit or the
blossom. Very often we can do no more for the man of genius than to
distract him as little as may be with the common business of the day.
His own work is more laborious than any other, for not only is thought
harder than action, as Goethe said, but he must brood over his work so
long and so unbrokenly that he find there all his patriotism, all his
passion, his religion even--it is not only those that sweep a floor that
are obedient to heaven--until at last he can cry with Paracelsus, 'In
this crust of bread I have found all the stars and all the heavens. '

The following new plays were produced by the National Theatre Society
during the last twelve months:--_The Shadow of the Glen_ and _Riders
to the Sea_, by Mr. J. M. Synge; _Broken Soil_, by Mr. Colm; _The
Townland of Tamney_, by Mr. Seumas MacManus; _The Shadowy Waters_
and _The King's Threshold_, by myself. The following plays were
revived:--_Deirdre_, by A. E. ; _Twenty-five_, by Lady Gregory; _Cathleen
ni Houlihan_, _The Pot of Broth_, and _The Hour-Glass_, by myself.