(1887), the story of a wise man who is saved from eternal damnation by the faith of a child. Mr. Yeats leaves the wise man the great scholar that he was in the old tale, a scholar whose teaching had taken away the faith of a countryside, but he changes the child who saved the scholar into Teig the Fool, and infuses into the record of the frantic hour, in which the wise man knows his life ebbing away as the sand falls, a spirit that is as reverent as the spirit of the old religious drama.
"A Pot of Broth" is a variant of a widely spread folk-tale in which a beggarman tricks a provident housewife out of a meal. He pretends a stone that he has, and which he gives her after his meal, makes good broth, but it is her chicken that has made the broth. It is a trifle, amusing enough, but remarkable chiefly for its difference from other work of Mr. Yeats. There is little doubt, I take it, in the mind of any one that it is not chiefly Lady Gregory's, as it surely is in its wording, and in its intimacy with the details of cottage life.
Prose also is "Diarmid and Grania," written in collaboration with Mr. George Moore and played at the last year's performance (1901) of "The Irish Literary Theatre." As this play as performed was in tone more like the writings of Mr. Moore than of Mr. Yeats, I have considered it among his plays rather than among the plays of Mr. Yeats.
His other prose play, "Where there is Nothing" (1903), is a statement of revolt against "the despotism of fact" that is perhaps as characteristic of the artist as of the Celt. The world would say that its hero, Paul Ruttledge,
