French stage. It is likely, too, that the very inexperience and lack of knowledge of artifice to which Mr. Yeats refers was an element in making the art of the company what it became. But it is not altogether impossible that certain traditions of the English stage—of the statuesque acting of the Kembles, for instance—had come down into the time of Mr. Fay's stage experience, to those days before he became stage manager of the performances of "The Daughters of Erin" in 1900, and that these traditions influenced his training of the company that was to attain to a new art of the stage.
Before this there had been two series of performances in Dublin, each of a week's duration, by "The Irish Literary Theatre," one in 1899, and the other in 1900, with English actors gathered together in London by Mr. George Moore; and another week's series followed in 1901 by the Benson Company and some amateurs of the Gaelic League under the leadership of Dr. Douglas Hyde. It was the performances of "The Countess Cathleen" of Mr. Yeats and of "The Heather Field" of Mr. Martyn at the Antient Concert Rooms in Dublin, respectively May 8 and 9, 1899, by "The Irish Literary Theatre," that inaugurated the drama of the Celtic Renaissance, fully a year before there came into being the group of amateurs that were to bring that drama home to Ireland as no players who inherited the standards and conventions of the English stage could possibly have brought it home.
It is Mr. Fay's distinction to have been, as I have intimated, the leader who started these players on the long way to their new art. Such leadership his record hardly
