is father by Lough Gara; and all three volumes
of "Hail and Farewell," the first of which was published in 1911 as
"Ave," and the second in 1912 as "Salve," are the fruit of his ten
years' partial residence in Ireland, 1901-11.

Our concern with Mr. Moore here, however, is with Mr. Moore the
dramatist, so I shall not dwell on the short stories and the novels save
to say that they, more than any writing of his, reveal his inherent
dramatic power. By dramatic power I mean not his power of situation and
evolution of dramatic technique, but his power to change his point of
view with the character he is creating A sensual exquisite himself whose
predominant thought is of woman, and of woman from a standpoint closely
akin to an epicure's toward an ideal meal, Mr. Moore can identify
himself with people in whom there is none of himself but the essential
humanity common to mankind. Most wonderful of many wonderful
realizations of viewpoint so different from what is his personally is
his realization of the attitude of Father MacTurnan, an old priest,
celibate by nature, who put aside his books, as ministering to the pride
of the intellect, and sat, night after night, with them by his side in
the study, but always unopened, while he was knitting socks for the poor
of his parish. Better known, of course, than this character of Father
MacTurnan is that of Father Gogarty in "The Lake," but for all his
sympathetic elaboration of this bemused and distraught cleric the
character is never wholly opposed to that of Mr. Moore himself as is the
character of Father MacTurnan.

It is this power of Mr. Moore that makes him the great novelist that he
is, this power of identifying himself with the personality and this
looking out on life from the viewpoint of Esther Waters or Lewis
Seymour, or Edward Dempsey or Rose Leicester, of Kate Lennox or Mr.
Innes. Such a power is akin to one of the greatest powers of the Gael,
his quick sympathy with what appeals to him in others, his momentary
absorption in their interests and his passing possession by their
purpose. It is this habit of his nature that makes the Gael tell people
what they wish to hear, it is this that makes him so courteous, it is
this that makes him so good an actor. And the power that makes one man a
good actor, a real actor,--not one who happens to fit a part, but one
who can change his personality from part to part,--is but another
manifestation of the power that enables a man to i