Page:Irish plays and playwrights (IA irishplaysplaywr00weygrich).pdf/136



is the one instinctive dramatist of the earlier group of writers of the Celtic Renaissance, the one to whom drama was the inevitable medium for the expression of the best that was in him. Yet even Synge came to write plays only through an external stimulus, the urging of Mr. Yeats on their meeting in Paris. It was fortunate for the Irish drama, this meeting, and fortunate for Synge. If he had not been brought to the theatre of his own country, he would probably never have written anything of first importance. Mr. Yeats himself, of course, had been interested in verse plays from boyhood, but he, for all the energy he has expended in learning his own particular art of the stage, speaks more beautifully through his lyrics and the lyrical passages of his plays than through their passages that are dramatic speech, and not only more beautifully but with more of dignity and power. Nor is Lady Gregory, any more than Mr. Yeats, essentially a dramatist. Her great power is the power of dialogue, and dialogue, of course, is as often employed in the service of the story as in the service of the play. Yet it is not difficult to understand how in Lady Gregory the dialogue and in Mr. Yeats the love of the spoken word led, when opportunity was made, to writing for the stage, and for success on the stage. But in the case of "A.E." it is as