they are; its incapacity in practical matters; the reckless temper of this faction of its people, the subjection to clerical influence of that, the suicidal patriotism of a third; in short, the Celts' willful rebellion against the despotism of fact. It was not pleasant listening to, or seeing, "The Piper," to many groups of Irishmen, for it cut alike at the Parliamentary Nationalists, the Sein Feiner, and the shoneen. Even though one admires the courage of the Piper and Black Mike, one realizes the futility of both, and of Larry the Talker, Tim the Trimmer, and Pat Dennehy, all typical of too many men in Ireland to be endurable to the usual theatre audience. There is a white heat of feeling, however, under the play that to some degree makes one forget its rather indifferent writing, its failure to attain true dramatic speech, its obviousness as of a morality play.
Another little drama of Mr. O'Riordan, "Time," is almost a morality play. It was produced shortly after its author became director of the Abbey Theatre, succeeding Mr. Synge in the spring of 1909. Mr. O'Riordan does not include "Time" among the plays of his volume of 1912, "Shakespeare's End, and Other Irish Plays," but one cannot but feel there was room for it there, if there was room for the play that gives title to the volume. "Shakespeare's End," however, was doubtless included because it gives its author's ideas as to the mission of Ireland in the world. "An Imaginary Conversation," the second play of the volume, was performed at the Abbey Theatre May 13, 1909, following shortly after "Time"; a discussion of art and patriotism and love among Tom
