that she was born to, but from which her marriage removed her.
This question of the class the plays should present was one of those that led to the withdrawal of Mr. Martyn from the dramatic movement. A more definite cause, perhaps, was the unanimous determination of Lady Gregory, Mr. Yeats, and Mr. Moore that his "A Tale of a Town" could not be presented by "The Irish Literary Theatre" as he wrote it if the standards of that theatre were to be preserved. Its author's magnanimity in turning it over to Mr. Moore to be rewritten,—as it was, being presented as "The Bending of the Bough" (1900),—was revealed by Mr. Moore in "Samhain" (October, 1901), and very much more fully, if less kindly, in "Ave" (1911).
In its way their refusal to play Mr. Martyn's "A Tale of a Town" was as creditable to the other powers in the theatre as was his magnanimity in giving them the play to do with as they would. They knew their refusal to play it might lead him to withdraw his support of the theatre and, in the end, it was a factor in bringing about that result. After their rejection of "A Tale of a Town," however, he still gave "The Irish Literary Theatre" his support, allowing it to put on his "Maeve," and in 1901 contributing to "Samhain" (October), "A Plea for a National Theatre in Ireland." Such a theatre Mr. Martyn had the power to give Ireland, but he did not give it, when it was thought he might, and in 1902 all hope of his giving his money for such a purpose was destroyed by his transference of a fund of fifty thousand dollars to the Catholic
