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252 that only plays by Irish writers should be put on by that theatre that Mr. Sharp looked elsewhere for their presentation. Only "The House of Usna" was, however, placed,—in the spring performances in London of The Stage Society, on April 29, 1900. Two months later "The House of Usna" was published in the July number of "The National Review." It pleased more, if we are to judge by the reviews, in the pages of the magazine than on the stage, but I hardly know why. "The House of Usna" is profoundly moving read in the study, surely, and if acted in such simplicity and enthusiasm as is that of the Abbey Theatre Players, I should think it would appeal as do the verse plays of Mr. Yeats. No play I have read carries me further into antiquity than this, none preserves more of what imagination tells us must have been the wilder beauty of what still are places of wild beauty, of the savagery of that old life of the hero tales of Ireland. Mr. Yeats's plays do not so recapture the past, they take us rather to places out of time, where all things are possible, because the world we know is put aside and all but forgot. Even on the stage, however, the new beauty of "The House of Usna" was recognized, a beauty as distinctive as that of the two plays of M. Maeterlinck that were produced with it, "Interior" and "The Death of Tintagiles," but it was adjudged not to be drama in the accepted sense of the word. "The House of Usna" is written in a prose that has many of the effects of verse, but that is less luxuriant than the prose of "Vistas." "The Immortal Hour," published shortly afterwards in the "Fortnightly Review" (1900), is written in blank verse