her home. Katherine Devlin is another creature of her maker's misogyny.
She is a bitter, barren woman of suffragette type, whose marriage and
career as a doctor have been alike failures, and who has alienated
herself from all, even her mild father, by her selfishness and
discontent. It is she who has brought Miss Clare Farquhar into her
father's home to render him those services in his pursuit of heraldry
and genealogy that were irksome to her, and so she herself is
responsible for his dependence on his secretary, which, when once the
daughter recognizes it, threatens annihilation of what little pleasure
she has in her life. Her husband is a dreamy sort of man, slack-fibred
and pottering, who goes about waving the banner of the ideal and
refusing to work. The fifth character of the play is the butler, Horan.
All are clearly characterized, but if the dialogue is less stiff than
that of the earlier plays, it is little more distinctive of the people
who speak it, and in the latter part of the play labored and stodgy.
"Grangecolman" is a picture of life as we all know it, and there is in
it a fidelity of purpose that gives it a kind of effectiveness. There is
not in it, however, any keenness of vision, any deep reading of life,
any great underlying emotion, to relieve its abject sordidness. There is
no gusto, no beauty, no intensity of bitterness even, to make its
sordidness interesting in any other than a pathological way.

As one reads "Hail and Farewell," one might readily come to believe that
Mr. Martyn is only an eccentric character, "gotten up" by Mr. Moore for
a novel. Mr. Martyn is, in reality, a very vital force working for the
nationalization of Irish art, if not an artist himself. The pity is that
he is not wholly an artist, for he might have been. He knows and is
interested in classes of Irish society that the dramatists of the Abbey
Theatre have not tried to depict, and had he realized twelve years ago
what a chance was his to learn the art of the stage, with the help and
collaboration of Mr. Moore, Mr. Yeats, and Lady Gregory, he might now be
what he seemed to be after the triumphant production of "The Heather
Field," the Irish playwright who had adapted the modes of Ibsen to the
presentation of the life of Irish landlords and bourgeois politicians.

But Mr. Martyn would not realize that ideas--and he is rich in
ideas--constitute the larger part of originality; he thought technique
in drama must come from th