Page:Irish plays and playwrights (IA irishplaysplaywr00weygrich).pdf/23

 Rh "West Irish Folk-Tales" (1895) are model work of their kind as are Lady Gregory's several books, of which I speak in detail later. The work of Dr. Hyde is the most important work of this sort, however, and it is not too much to say, as I intimated at the outset, that, without his translation of "The Love Songs of Connacht" (1894) and "The Religious Songs of Connacht" (1906), the prose of the movement would never have attained that distinction of rhythm which reveals English almost as a new language. I would gladly have written at length of Dr. Hyde, but he has chosen to write his plays in Irish as well as most of his verses. Yet so winning are the plays as translated by Lady Gregory, and so greatly have they influenced the folk-plays in English of the Abbey Theatre, that there is almost warrant for including him. I cannot, of course, but I must at least bear testimony to the many powers of these plays. Dr. Hyde can be trenchant, when satire is his object, as in "The Bursting of the Bubble" (1903); or alive with merriment when merriment is his desire, as in "The Poorhouse" (1903); or full of quiet beauty when he writes of holy things, as in the "Lost Saint" (1902). There are many other playwrights in Irish than Dr. Hyde, but as no other plays in Irish than his have reacted to any extent on the plays in English of the movement, I do not consider them, my object in this book being to consider the dramatic writing in English of the Celtic Renaissance, with relation to its value as a contribution to the art of English letters. That there is a great deal else in the Celtic Renaissance than its drama, I would, however, emphasize, though it is true that