Mr. Yeats to be put on the stage, being presented at the Avenue Theatre in London in 1894; and it was also the first play of Mr. Yeats to be put on in America, being presented with Miss Mabel Taliaferro in the fairy's rôle as the curtain-raiser to Mrs. Le Moyne's production of "In a Balcony," in the spring of 1901. Fragile as is its charm, it crossed the footlights and made itself felt as a new beauty of the theatre. It was the lyrical interbreathings that appealed most to me, but the strife of priest and fairy for Maire Bruin's soul was very real drama. It was the fairy's song, however, that haunted me after I left the theatre, as it could not but be. It haunts me still, coming into my mind whenever I think of Mr. Yeats, as inevitably as the last lines of "The Countess Cathleen," or as "The Lake Isle of Innisfree," or "The Valley of the Black Pig," or "The Rose of the World," or the ecstasies of Forgael and Dectora, or the song in "Deirdre." "The lonely of heart is withered away" is its burden, a burden that will not out of mind.
"The Land of Heart's Desire" has probably been most often played, counting American performances as well as performances in Ireland and England, being played as frequently by amateurs as by professionals in this country, but the prose play "Cathleen ni Houlihan," because of its national theme, has had more playings in Ireland. Its effect upon the stage is very different from its effect in the study. Read, it seems allegory too obvious to impress. The old woman, Cathleen ni Houlihan, with "too many strangers in the house" and with her "four beautiful green fields" taken from her, is so patently Ireland
