A man who in the late eighties and early nineties had spent seven years as an art student in Paris saw the Abbey Players in Boston. In Paris he had gone frequently to the Théâtre Français, and only there, he said, before he saw the Irish Players, had he seen acting so full of dignity, but never at all before acting so natural.
There is possible, too, however, a native origin for this repose of manner, or perhaps it would be truest to say that it is a blending, like the dramas themselves, of native and foreign elements. Speaking of "Cathleen ni Houlihan" in the notes to his "Collected Works" of 1908, Mr. Yeats says, "I cannot imagine this play, or any folk-play of our school, acted by players with no knowledge of the peasant, and of the awkwardness and stillness of bodies that have followed the plow, or too lacking in humility to copy these things without convention or caricature." Here, too, he refers to the "quiet movement and careful speech which has given our players some little fame" as "arising partly out of deliberate opinion and partly out of the ignorance of the players."
Undoubtedly Mr. Fay knew the still ways of the peasant, and I do not doubt that he was influenced by such knowledge and did in some degree train his actors to bring their movements on the stage in accord with the "awkwardness and stillness of bodies that have followed the plow." But since there are ways of the peasant that are far from still, it is likely, too, that he was led to select such movements, instead of the vehement gesture and lively facial expression that are just as characteristic of the peasant, by a memory of the restrained acting of the
