agh's Wife" tells, and largely a true story, the story of a piper who, though a pauper, draws all the countryside to the funeral of his wife, draws them, through the wild lamenting of his pipes, from the fair where they are sporting to follow, with a full fellowship, to the grave, her who died all but alone. Lady Gregory tells us in a note just what of it she gathered from old people about her girlhood's home at Roxborough, and what about her home of to-day at Coole, how she has shaped it, and what emotion is back of it, the "lasting pride of the artist of all ages."
As Lady Gregory had restricted herself, until recently, in the forms of modern life which she wrote of and in the kinds of people she selected to write of, so, too, she had restricted herself, until recently, in the motives she considered. It is true that the motive most recurrent in her plays, that of fear of the opinion of the neighbor, an attitude probably sprung of the clan system, is dominant in Irish life; and it is equally true that the motive most notably absent, love, was until yesterday far from a dominant motive in the Irish life that Lady Gregory presents: yet there are many other motives that, in true comedy, and even in farcical comedy, might well have place. That these motives are not there is, I think, not only that Lady Gregory, self-effacingly, put into her plays what was wanted to make them foils to the plays of Mr. Yeats and Synge, but also because of the practice of one type of gentlewoman in literature, of which Jane Austen is characteristic. And yet the mere mention of Jane Austen increases the wonderment that Lady Greg-
