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 110 Western Gael" (1864), as well as in the direct translations of such scholars as Mr. Standish Hayes O'Grady and in the versions of such popularizers as Dr. Joyce. One cannot, not having read the play, declare it is not what Mr. Moore would have it, "that dramatic telling of the story which Ireland has been waiting for these many years," but it does not seem so to have impressed those who saw it and heard it at the performances in the Gaiety Theatre.

Now that Lady Gregory has done her "Grania" (1912), it is hardly likely that Mr. Yeats will return to the story, and with the waning of Mr. Moore's interest in old Irish legend it is very unlikely that he will wish to rewrite the play. It would seem we have lost it, whatever its value, until the "literary remains" of Mr. Moore are given to the public.

The quarrel with Mr. Yeats over "Diarmid and Grania," coming as it did at the end of the three years' venture of "The Irish Literary Theatre," explains why Mr. Moore wrote no plays for the Irish National Dramatic Company and its successors on through the Abbey Theatre Players. He was still interested, however, in the "cause" as far as it was possible for one of his temperament and taste, and he was conspicuous on first nights at the Abbey Theatre down to the time of his departure from Dublin in 1911.

Since "Diarmid and Grania" (1901) Mr. Moore has published the two books of his that since "A Drama in Muslin" (1886) reveal his deepest knowledge of Irish life, the volume of stories of varying length to which he gives