Page:Irish plays and playwrights (IA irishplaysplaywr00weygrich).pdf/262

 228 Dempsey. Murder may come of his blackness of heart. He is a far worse man, of course, than poor John Clancy, who killed a man in an unpremeditated fight, sure murderer though Clancy be. Yet despite such heroes or at least such characters in his plays, no one would say that in either "The Clancy Name" or "The Crossroads" Mr. Robinson held a brief against the Irish peasant. He most certainly does not. He likes the Irish peasant. His plays are "stories of mine own people" faithfully told. He does not spare the Cork farmer, but he does not distort him. Why however, his "Harvest" was allowed to be played unmolested in New York, after the "The Playboy of the Western World" met with organized opposition, can be explained only by recognition of the fact that the Irishmen of the patriotic societies are slaves of precedent. "The Playboy of the Western World" had always met with opposition, so it should meet with opposition in New York. "Harvest" escaped in New York because its uncomplimentary personages were unheralded. Not that there is anything in "Harvest," any more than in "The Playboy of the Western World," that any self-respecting Irishman need object to. "Harvest" shows the disastrous effects the wrong sort of primary education, as taught by the country schoolmaster of the old type, the type that was prevalent before the present type, brought about. The present-day schoolmaster is in sympathy with system of education that will keep the children on the land or in an industry near the home place; the older type would give them an education that would send them to the cities to be priests and lawyers and secretaries and