King can do no wrong,—that is, that the Irish people can do no wrong,—and that whoever exposes their wrongdoing is no patriot, is a mistaken sort of patriotism.
Late in 1906 his "Deirdre" was successfully produced at the Abbey Theatre, Dublin. It presents only the last chapter of this, the saddest tale of the three heart-burdening tales that are known as "The Three Sorrows of Story-Telling," but it presents it so poignantly and with so keen an emphasis on the quick-passing of all things sweet, that it takes place, for all its slightness, with the world's greatest tragedies that are tragedies because of the overthrow therein of "queens ... young and fair." There are few Irish writers whose concern is with things Irish who have not retold this, the greatest love story of Ireland, but none of them, from Sir Samuel Ferguson down to our own day, have retold it so nobly as Mr. Yeats, save only Synge, and his restatement of it, of the whole story from Deirdre's girlhood to her death, has about it a grandeur and triumphing beauty that make further retellings not to be tolerated.
It is not lines, "purple patches," one remembers from "Deirdre," but the whole play, its every situation, its setting. That setting so quintessentializes, in the words Mr. Yeats used to describe it, the romance of the old haunted woods where any adventure is possible, that I must quote it in full:—
A Guest-house in a wood. It is a rough house of timber; through the doors and some of the windows one can see the great spaces of the wood, the sky dimming, night closing in. But a window to the left shows the thick leaves of a coppice; the land-
