of "The Three Sorrows of Story-Telling" that is less poignant than the story of Deirdre only because it is less human, and about Brian Boru, the high king that beat back the Danes at Clontarf. Faery and mediæval history were not destined, however, to be Mr. Colum's field, and Mr. Fay, then stage manager of the Association productions, probably helped him on the way to his true field, the life of the peasant of the Midlands, by declaring them rubbish. Two years later Mr. Colum had learned enough about life and about the stage to write a play against enlistment in the English army that held the attention of audiences and was regarded as good propagandist "stuff." "The Saxon Shillin'," produced May 15, 1903, Mr. Colum has not republished, nor "The Kingdom of the Young" (1902), which like its predecessor was published in "The United Irishmen." With this last play, as its title indicates, Mr. Colum found his way to that subject of youth, which, whatever other one of his dominant motives his plays may involve, is always present. The hardness of youth is the theme of "The Kingdom of the Young," the hardness that came into the heart of a daughter, when driven into revolt by the older generation. She turns on her father in the end, determined that she will not be cheated of the joy of life as was he.
In "The Foleys," another little play of the same year, 1902, a play that for all its crudity and incompleteness is full of insight into Catholic Ireland, youth is again the theme, or the intolerance and self-righteousness of youth. "Eoghan's Wife" (1902) is only a monologue, only the old story of the woman who finds her home lonely and
