by W. B. Yeats
Mais la vente de cette âme si adorable dans sa charité fut déclarée nulle par le Seigneur: car elle avait sauvé ses concitoyens de la morte éternelle.
Après la huitaine, des vaisseaux nombreux amenèrent à l’Irlande affamée d’immenses provisions de grains.
La famine n’était plus possible. Quant aux marchands, ils disparurent de leur hôtellerie, sans qu’on sût jamais ce qu’ils étaient devenus.
Toutefois, les pêcheurs de la Blackwater prétendent qu’ils sont enchainés dans une prison souterraine par ordre de Lucifer jusqu’au moment où ils pourront livrer l’âme de Ketty qui leur a échappé. Je vous dis la légende telle que je la sais.
— Mais les pauvres l’ont raconté d’âge en âge et les enfants de Cork et de Dublin chantent encore la ballade dont voici les derniers couplets: —
Pour sauver les pauvres qu’elle aime
Ketty donna
Son esprit, sa croyance même:
305Satan paya
Cette âme au dévoûment sublime,
En écus d’or,
Disons pour racheter son crime,
Confiteor.
Mais l’ange qui se fit coupable
Par charité
Au séjour d’amour ineffable
Est remonté.
Satan vaincu n’eut pas de prise
Sur ce cœur d’or;
Chantons sous la nef de l’église,
Confiteor.
N’est ce pas que ce récit, né de l’imagination des poètes catholiques de la verte Erin, est une véritable récit de carême?
The Countess Cathleen was acted in Dublin in 1899, with Mr. Marcus St. John and Mr. Trevor Lowe as the First and Second Demon, Mr. Valentine Grace as Shemus Rua, Master Charles Sefton as Teig, Madame San Carola as Mary, Miss Florence Farr as Aleel, Miss Anna Mather as Oona, Mr. Charles Holmes as the Herdsman, Mr. Jack Wilcox as the Gardener, Mr. Walford as a Peasant, Miss Dorothy Paget as a Spirit, Miss M. Kelly as a Peasant Woman, Mr. T.E. Wilkinson as a Servant, and Miss May Whitty as The Countess Kathleen. They had to face a very vehement opposition stirred up by a politician and a newspaper, the one accusing me in a pamphlet, the other in long articles day after day, of blasphemy because of the language of the demons or of Shemus Rua, and because I made a woman sell her soul and yet escape damnation, and of a lack of patriotism because I made Irish men and women, who, it seems, never did such a thing, sell theirs. The politician or the newspaper persuaded some forty Catholic students to sign a protest against the play, and a Cardinal, who306 avowed that he had not read it, to make another, and both politician and newspaper made such obvious appeals to the audience to break the peace, that a score or so of police were sent to the theatre to see that they did not. I had, however, no reason to regret the result, for the stalls, containing almost all that was distinguished in Dublin, and a gallery of artisans alike insisted on the freedom of literature.
After the performance in 1899 I added the love scene between Aleel and the Countess, and in this new form the play was revived in New York by Miss Wycherley as well as being played a good deal in England and America by amateurs. Now at last I have made a complete revision to make it suitable for performance at the Abbey Theatre. The first two scenes are almost wholly new, and throughout the play I have added or left out such passages as a stage experience of some years showed me encumbered the action; the play in its first form having been written before I knew anything of the theatre. I have left the old end, however, in the version printed in the body of this book, because the change for dramatic purposes has been made for no better reason than that audiences — even at the Abbey Theatre — are almost ignorant of Irish mythology — or because a shallow stage made the elaborate vision of armed angels upon a mountain-side impossible. The new end is particularly suited to the Abbey stage, where the stage platform can be brought out in front of the proscenium and have a flight of steps at one side up which the Angel comes, crossing towards the back of the stage at the opposite side. The principal lighting is from two arc lights in the balcony which throw their lights into the faces of the players, making footlights unnecessary. The room at Shemus Rua’s house is suggested by a great grey curtain — a colour which becomes full of rich tints under the stream of light from the arcs. The two or more arches in the third scene permit the use of a gauze. The short front scene before the last is just long enough when played with incidental music to allow the scene set behind it to be changed. The play307 when played without interval in this way lasts a little over an hour.
The play was performed at the Abbey Theatre for the first time on December 14, 1911, Miss Maire O’Neill taking the part of the Countess, and the last scene from the going out of the Merchants was as follows: —
(MERCHANTS rush out. ALEEL crawls into the middle of the room; the twilight has fallen and gradually darkens as the scene goes on.)
ALEEL
They’re rising up — they’re rising through the earth,
Fat Asmodel and giddy Belial,
And all the fiends. Now they leap in the air.
But why does Hell’s gate creak so? Round and round.
Hither and hither, to and fro they’re running.
(He moves about as though the air was full of spirits. OONA enters.)
Crouch down, old heron, out of the blind storm.
OONA
Where is the Countess Cathleen? All this day
Her eyes were full of tears, and when for a moment
Her hand was laid upon my hand, it trembled.
And now I do not know where she is gone.
ALEEL
Cathleen has chosen other friends than us,
And they are rising through the hollow world.
Demons are out, old heron.
OONA
308God guard her soul.
ALEEL
She’s bartered it away this very hour,
As though we two were never in the world.
(He kneels beside her, but does not seem to hear her words. The PEASANTS return. They carry the COUNTESS CATHLEEN and lay her upon the ground before OONA and ALEEL. She lies there as if dead.)
OONA
O, that so many pitchers of rough clay
Should prosper and the porcelain break in two!
(She kisses the hands of CATHLEEN.)
A PEASANT
We were under the tree where the path turns
When she grew pale as death and fainted away.
CATHLEEN
O, hold me, and hold me tightly, for the storm
Is dragging me away.
(OONA takes her in her arms. A woman begins to wail.)
PEASANTS
Hush!
PEASANTS
Hush!
PEASANT WOMEN
309Hush!
OTHER PEASANT WOMEN
Hush!
CATHLEEN (half rising)
Lay all the bags of money in a heap,
And when I am gone, old Oona, share them out
To every man and woman: judge, and give
According to their needs.
A PEASANT WOMAN
And will she give
Enough to keep my children through the dearth?
ANOTHER PEASANT WOMAN
O, Queen of Heaven, and all you blessed saints,
Let us and ours be lost, so she be shriven.
CATHLEEN
Bend down your faces, Oona and Aleel;
I gaze upon them as the swallow gazes
Upon the nest under the eave, before
She wander the loud waters. Do not weep
Too great a while, for there is many a candle
On the High Altar though one fall. Aleel,
Who sang about the dancers of the woods,
That know not the hard burden of the world,
Having but breath in their kind bodies, farewell!
And farewell, Oona, you who played with me
And bore me in your arms about the house
When I was but a child �
� and therefore happy,
Therefore happy even like those that dance.
The storm is in my hair and I must go.
(She dies.)
310
OONA
Bring me the looking-glass.
(A woman brings it to her out of inner room. OONA holds glass over the lips of CATHLEEN. All is silent for a moment, then she speaks in a half-scream.)
O, she is dead!
A PEASANT
She was the great white lily of the world.
A PEASANT
She was more beautiful than the pale stars.
AN OLD PEASANT WOMAN
The little plant I loved is broken in two.
(ALEEL takes looking-glass from OONA and flings it upon floor, so that it is broken in many pieces.)
ALEEL
I shatter you in fragments, for the face
That brimmed you up with beauty is no more;
And die, dull heart, for you that were a mirror
Are but a ball of passionate dust again!
And level earth and plumy sea, rise up!
And haughty sky, fall down!
A PEASANT WOMAN
Pull him upon his knees,
His curses will pluck lightning on our heads.
ALEEL
311Angels and devils clash in the middle air,
And brazen swords clang upon brazen helms.
Look, look, a spear has gone through Belial’s eye!
(A winged ANGEL, carrying a torch and a sword, enters from the R. with eyes fixed upon some distant thing. The ANGEL is about to pass out to the L. when ALEEL speaks. The ANGEL stops a moment and turns.)
Look no more on the half-closed gates of Hell,
But speak to me whose mind is smitten of God,
That it may be no more with mortal things:
And tell of her who lies there.
(The ANGEL turns again and is about to go, but is seized by ALEEL.)
Till you speak
You shall not drift into eternity.
THE ANGEL
The light beats down; the gates of pearl are wide.
And she is passing to the floor of peace,
And Mary of the seven times wounded heart
Has kissed her lips, and the long blessed hair
Has fallen on her face; the Light of Lights
Looks always on the motive, not the deed,
The Shadow of Shadows on the deed alone.
(ALEEL releases the ANGEL and kneels.)
OONA
Tell them to walk upon the floor of peace,
That I would die and go to her I love;
The years like great black oxen tread the world,
And God the herdsman goads them on behind,
And I am broken by their passing feet.
312
Down by the Salley Gardens. — An extension of three lines sung to me by an old woman at Ballisodare.
Findrinny (Findruine). — A kind of white bronze.
Finvarra (Finbar). — The king of the faeries of Connaught.
Hell. — In the older Irish books Hell is always cold, and it may be because the Fomoroh, or evil powers, ruled over the north and the winter. Christianity adopted as far as possible the Pagan symbolism in Ireland as elsewhere, and Irish poets, when they spoke of “the cold flagstone of Hell,” may have repeated Pagan symbolism. The folk-tales, and Keating in his description of Hell, make use, however, of the ordinary symbolism of fire.
The Lamentation of the Pensioner. — This poem is little more than a translation into verse of the very words of an old Wicklow peasant. Fret means doom or destiny.
The Land of Heart’s Desire. — This little play was produced at the Avenue Theatre in the spring of 1894, with the following cast: — Maurteen Bruin, Mr. James Welch; Shawn Bruin, Mr. A.E.W. Mason; Father Hart, Mr. G.R. Foss; Bridget Bruin, Miss Charlotte Morland; Maire Bruin, Miss Winifred Fraser; A Faery Child, Miss Dorothy Paget. It ran for a little over six weeks. It was revived in America in 1901, when it was taken on tour by Mrs. Lemoyne. It has been played two or three times professionally since then in America and a great many times in England and America by amateurs. Till lately it was not part of the repertory of the Abbey Theatre, for I had grown to dislike it without knowing what I disliked in it. This winter, however, I have made many revisions and now it plays well enough to give me pleasure. It is printed in this book in the new form, which was acted for the first time on February313 22, 1912, at the Abbey Theatre, Dublin. At the Abbey Theatre, where the platform of the stage comes out in front of the curtain, the curtain falls before the priest’s last words. He remains outside the curtain and the words are spoken to the audience like an epilogue.
The Meditation of the Old Fisherman. — This poem is founded upon some things a fisherman said to me when out fishing in Sligo Bay.
Northern Cold. — The Fomor, the powers of death and darkness and cold and evil, came from the north.
Nuala. — The wife of Finvarra.
Rose. — The rose is a favourite symbol with the Irish poets, and has given a name to several poems both Gaelic and English, and is used in love poems, in addresses to Ireland like Mr. Aubrey de Vere’s poem telling how “The little black rose shall be red at last,” and in religious poems, like the old Gaelic one which speaks of “the Rose of Friday,” meaning the Rose of Austerity.
Salley. — Willow.
Seven Hazel-trees. — There was once a well overshadowed by seven sacred hazel-trees, in the midst of Ireland. A certain woman plucked their fruit, and seven rivers arose out of the well and swept her away. In my poems this well is the source of all the waters of this world, which are therefore seven-fold.
The Wanderings of Usheen. — The poem is founded upon the middle Irish dialogues of S. Patric and Usheen and a certain Gaelic poem of the last century. The events it describes, like the events in most of the poems in this volume, are supposed to have taken place rather in the indefinite period, made up of many periods, described by the folk-tales, than in any particular314 century; it therefore, like the later Fenian stories themselves, mixes much that is mediæval with much that is ancient. The Gaelic poems do not make Usheen go to more than one island, but a story in Silva Gadelica describes “four paradises,” an island to the north, an island to the west, an island to the south, and Adam’s paradise in the east.
DIARMUID AND GRANIA
CONTENTS
PERSONS IN THE PLAY
ACT I
ACT II.
ACT III.
PERSONS IN THE PLAY
King Cormac, the High King
Finn MacCoole, the Chief of the Fianna
His chief men:
Diarmuid
Usheen
Caoelte
Conan the Bald, one of the Fianna
Niall, a head servant
Spearmen:
Fergus
Fathna
Griffan.
Grania, the King’s daughter
Laban, a druidess
An Old Man
A Boy
A Young Man
A Shepherd
The Four Troops of the Fianna
Serving Men
ACT I
The banqueting hall in Tara. A table at the back of the stage on a dais. Pillars in front. There are doors to the right and left. A number of Serving Men are laying the table for the feast. Niall is directing them. There is a spinning wheel to left.
NIALL. DO not put the salmon there; put it in front of the chief man at the feast.
BOY. IS not the King the chief man at a feast?
NIALL. Not at a wedding feast; the chief man at a wedding feast is the man comes to be wed.
BOY. Where shall I put the boar’s head?
NIALL. Put it where the old King used to sit, Art, King Cormac’s father, Art the Melancholy they used to call him. He was deaf at the left ear, and he was always complaining that the meat was hard, and that the wind came under the door. Yes, Boy, under this roof a hundred kings ha
ve sat, right back to Ollam Fodla that made the laws. What meals they have eaten! What ale they have drunk! Before Cormac there was Art, and before Art there was
Conn.
BOY. Was that Conn the Hundred Fighter?
NIALL. Yes, Conn the Hundred Fighter they used to call him and he knew a hare was put before him if the fire had been bright behind it; and he knew if the swine’s flesh had been dried in the smoke of a whitehorn tree. Put the curds over there; it is not the curds but the trotters and cow-heel that used to be put there, for that was the place of the king’s fool. One day he flouted the Fianna on the high road, and they hanged him on an apple tree.
BOY. Did they hang the king’s fool in time of peace?
NIALL. Fool, or wise man, war or peace, it’s all one to them when their pride is up. But they are great men. Bring the dishes quickly, it is time for their messenger to be here. Put the bread there, Art’s wife, Queen Maeve, used to sit there, Maeve the Half Ruddy they called her, and she liked thin barley cakes, and six men got their death because of her. [To the Servants]. Bring in the flagons; put them here, where Art’s hound used to lie. [A knocking at the door]. Here is the messenger of the Fianna. I knew we should not get done in time. Bring in the flagons. [To the Servants]. Where are the drinking horns? [More knocking. He goes to the door and opens it. Conan comes in. He is a fat rough man and is much out of breath. He is followed by three men, who carry bundles of shields on their backs].
