Page:Irish plays and playwrights (IA irishplaysplaywr00weygrich).pdf/153

 Rh "And I yearn to lay my head Where the grass is green and sweet; Mother, all the dreams are fled From the tired child at thy feet."

It is love, love of country, love of countryside, and love of woman that he writes of when he does write of "loved earth things." "A Woman's Voice" and "Forgiveness" are poems so simple that none may misunderstand; they have the human call so rare in "A. E.," but it is not a strong human call. Of such love songs he has written but few—poems out of the peace and not out of the passion of love; of passion other than spiritual ecstasy and rapt delight in nature there is none in his verse. Although he has been given "a ruby-flaming heart," he has been given also "a pure cold spirit." Only about a fourth of his poems have the human note dominant, and even when it is so dominant, as when he writes of his country, he is very seldom content to rest with a description of the beauty of place or legend; the beautiful place must be threshold to the Other World, as "The Gates of Dreamland," which he finds at the end of "the lonely road through bogland to the lake at Carrowmore," Carrowmore, the great cemetery of the great dead of prehistoric Ireland under Knocknarea near Sligo; or the legend must be symbol of some mystic belief—"Connla's well is a Celtic equivalent of the First Fountain of mysticism."

He can draw starkly, when he will, a picture of bare Irish landscape:—

"Still rests the heavy share on the dark soil: Upon the black mould thick the dew-damp lies: The horse waits patient: from his lowly toil The ploughboy to the morning lifts his eyes.