their delivery by the regular members of the company. If Mr. Yeats has not changed his views somewhat in regard to the speaking of dramatic verse, he no longer insists on the half chant as it was practiced by Miss Farr, but is content if the actors reproduce its rhythm in "the beautiful speaking" that is characteristic of their art. The most beautiful English that I have ever listened to is the English of Synge as spoken by Mr. O'Donovan in Christy's "romancin'" to Pegeen Mike in the third act of "The Playboy of the Western World." His voice, full and mellow by nature, and in perfect control, responds to all the many changes of emotion that the part demands, the unmatched rhythm of the prose rendered as he renders it carrying one clean out of one's self as one listens. It is only when one comes to one's self on the curtain-fall that one finds one's self wondering, Can this be prose? Surely, never before was prose, English prose, as beautiful to the ear as English verse.
As Miss O'Neill did not come with the Abbey Players to America, we did not have a chance to hear Pegeen Mike's lines spoken with a beauty comparable to Christy's. The part is not one to which Miss Allgood is physically adapted, and Miss McGee is as yet too new to the stage to speak with the confident abandon the lines demand. We did, however, have a chance to hear Miss Allgood's very beautiful musical utterance of the verses given to Cathleen ni Houlihan in this first of the movement's folk-plays, and her equally beautiful speaking of the prose lines of the play. This part of Cathleen ni Houlihan is sufficiently removed from the other parts of the play,
