as fine as this. Mrs. Dora Sigerson Shorter is a balladist of stark power, and Miss Eva Gore-Booth a lyric poet whose natural lilt no preoccupation with mysticism can for more than a moment obscure.
Mr. Herbert Trench has of recent years surrendered to theatrical management, but there is to his credit a substantial accomplishment of lyrical verse that George Meredith would have approved. Mr. Colum's verse I have spoken of below, incidentally, in considering his plays. A distinct talent, too, is Mr. Seumas O'Sullivan's, whose "Twilight People" (1905) indicates by its title the quality of his verse.
I have mentioned all these writers, some known in America, but others utterly unknown, not only to indicate the relation of the drama to the other literary forms of the Renaissance, but to account, perhaps in some measure, for the literary quality of the plays themselves. They are written, as plays in English during the past century have too seldom been written, by writers who have read widely in all forms of literature and to whom words are, if not "the only good," at least a chief good. Mr. Russell and Mr. Yeats have sent all the younger men who would write to the masterpieces of the world, telling them to get what they need of the technique of the centre, to know the best in the world, but to write of the ground under their feet. The plays are, as I have said, written, many of them, by men who are widely read, and by men whose friends are writers of some other form of literature, by men who wish their work in drama to be of as high intention as the work of their friends who are poets or
