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but the tramp and Nora, the one by his wandering and the other by her brooding, are "variations," though very human both. Of the cottager class, too, are Timmy the Smith, Molly Byrne, and the "villagers" of "The Well of the Saints," as are, too, the girls and men of "The Playboy of the Western World" other than the Mahons and Michael James. Shawn Keogh, indeed, is a cut above cottagers, being almost a strong farmer, and Michael James himself was, no doubt, of a similar cottager respectability before he took to shebeen-keeping. Almost all the other characters of these modern plays are, with the exception of the priest of "The Tinker's Wedding" and the saint of "The Well of the Saints," squatters, beggars, and tinkers. Among them, few as they are all told, are very differing personalities—Christy the Playboy and his father, "a dirty man, God forgive him, and he getting old and crusty"; Martin Doul, a "shabby stump of a man," "of queer talk," middle-aged and blind and a beggar; Michael Byrne, the hardy, thieving, unimaginative tinker; and the romancing young tramp who gallants Nora when her own husband turns her out on the road;—"variations" all, perhaps, but human, and compelling, all of them, our interest, and greater or less sympathy. And the women! Nora, whom we leave as road-woman, I have likened to Hedda Gabler, and Sarah Casey in externals to Isopel Berners, but I do not know to whom to compare the others save Mary Byrne, as slightly suggestive of Villon's old woman. Mary Doul, blind Martin's blind wife, has a general likeness to some old witch out of a fairy tale, but she is far from being a witch; and