ample and with all that has been done since the Renaissance began, in the preservation of Manx folk-lore and in the recording of vanishing Manx customs, no writer of Brown's power has been developed, or in fact any writer of powers equal to those of the best men of the younger generation in the other Celtic lands. It is with the Celtic Renaissance as it appears in Ireland, then, that I have to deal chiefly in this book, as it is only in Ireland, of the countries that retain a Celtic culture, that the movement is the dominating influence in writing in English; and it is with the drama only that I have now to deal, though when a playwright is a poet or a story-teller, too, I have written of his attainment in verse and tale also. Had I been writing five years ago, I should have said that it was in poetry that the Celtic Renaissance had attained most nobly, but since then the drama has had more recruits of power than has poetry, and it is a question as to which of the two is greater as art. There is no doubt, however, but that the drama has made a stronger and wider appeal, whatever its excellence, than has the verse, and it is therefore of greater significance for its time than is the poetry, whatever the ultimate appraisement will be. Of the men I have written of here, Mr. Yeats and Mr. Russell are to me poets before they are dramatists, and Lionel Johnson, whose only direct connection with the dramatic movement was his beautiful prologue in verse to the first performances of "The Irish Literary Theatre" in 1899, is to me a poet of a power as great as theirs.
One wonders, at first thought, that Ireland had never until our day given to English literature a novelist of
