of authority from the days of the clan system, was law until yesterday, and there will therefore be those, I have no doubt, who will find in the play a conflict of the old order and the new, but I do not believe such conflict was the author's intent. Indeed, the play is wholly of the old order. No love of man and woman figures as motive in it as none had figured in "Birthright." There is parental love, of course, in both plays, though in the case of both parents in "Maurice Harte" and in the father in "Birthright" parental pride is a stronger motive than parental love. Very true to Irish life is this absence of passion as a deciding factor in the fates of man and woman, this insistence upon the importance of the family, this subordination of the rights of the individual. Mr. Murray wished to write in "Maurice Harte" a play of the very heart of Irish Catholic life, and such a play he has written, a play that marks no decline, either in characterization or situation, from "Birthright," and to say that is to give "Maurice Harte" praise of the highest.
MR. S. LENNOX ROBINSON
Mr. Lennox Robinson, like most of the Abbey Theatre dramatists, has chosen to write about the ground under his feet. The son of a clergyman whose charges have been in the southwest of Ireland, Mr. Robinson spent his boyhood and youth in the Bandon Valley. He had been trying his hand at writing from the time that he was ten years old, editing an amateur magazine as he grew older, feeling about for the thing that he could do. A visit of the Abbey Theatre Company to Cork was the awakening. He
