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The Project Gutenberg EBook of Three Plays, by Padraic Colum This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Three Plays Author: Padraic Colum Release Date: April 3, 2004 [EBook #11878] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THREE PLAYS *** Produced by Distributed Proofreaders. THREE PLAYS THE FIDDLER'S HOUSE THE LAND THOMAS MUSKERRY BY PADRAIC COLUM BOSTON LITTLE, BROWN, AND COMPANY 1916 TO MY FRIEND THOMAS HUGHES KELLY THESE THREE IRISH PLAYS _AUTHOR'S NOTE_ I have been asked to say something about the intentions and ideas that underlie the three short plays in this volume. These plays were conceived in the early days of the Irish National Theatre. I had been one of the group that formed the National Theatre Society and I wrote plays for players who were my colleagues and my instructors; I wrote them for a small, barely-furnished stage in a small theatre; I wrote them, too, for an audience that was tremendously interested in every expression of national character. "The Land" was written to celebrate the redemption of the soil of Ireland--an event made possible by the Land Act of 1903. This event, as it represented the passing of Irish acres from an alien landlordism, was considered to be of national importance. "The Land" also dealt with a movement that ran counter to the rooting of the Celtic people in the soil--emigration--the emigration to America of the young and the fit. In "The Land" I tried to show that it was not altogether an economic necessity that was driving young men and women out of the Irish rural districts; the lack of life and the lack of freedom there had much to do with emigration. "The Land" touched upon a typical conflict, the conflict between the individual and that which, in Ireland, has much authority, the family group. This particular conflict was shown again in "The Fiddler's House." where the life, not of the actual peasants, but of rural people with artistic and aristocratic traditions, was shown. I tried to show the same conflict working out more tragically in the play of middle-class life, "Thomas Muskerry." Here I went above the peasant and the w
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