possessed by England, all four provinces, that one fails to feel the deep humanity of the sacrifices of Michael Gillane for her, his country, even though that sacrifice be on his wedding eve. Seen and listened to, "Cathleen ni Houlihan" brings tears to the eyes and chokes the throat with sobs, so intimately physical is the appeal of its pathos. He is, indeed, dull of understanding or hard of heart who can witness a performance of this play and not feel that something noble has come his way. It seizes hold of the Irishmen of the patriotic societies as does "The Wearing of the Green," and even the outlander, little sympathetic to the cause of Ireland and holding patriotism a provincial thing, is moved in some strange way he does not understand. Performance brings out its homeliness, its touches of humor, its wistfulness, its nobility. It is with this thought of its nobility that every thought of "Cathleen ni Houlihan" ends, that is every thought of it on the stage. Off the stage it is, except to him to whom the cause is all, something that falls short of nobility, to many little more than eloquent allegory. In the autumn of 1904 Miss Margaret Wycherly played "The Land of Heart's Desire" and "Cathleen ni Houlihan" a few times in America, and "The Countess Cathleen"; and "The Hour-Glass" (1903) and "A Pot of Broth" (1902), both plays in prose. "The Hour-Glass," a morality, was written after "Everyman" had won Mr. Yeats, and "A Pot of Broth" was written, perhaps, to prove that its author could do farce.
"The Hour-Glass" is based on a story that Mr. Yeats found in Lady Wilde's "Ancient Legends of Ireland"
