Theatre." So it is that
we find him collaborating with Mrs. Craigie in "Journeys End in Lovers
Meeting" (1894), which served for a year or so as one of the little
plays that characterized the repertoire of the Irving-Terry Company.
Just what was Mr. Moore's share in this play I do not know, but that,
slight as it is, it served as apprentice work in the art of
collaboration there can be no doubt, or that it added to his familiarity
with the stage.

It is certain that Mr. Martyn and Mr. Yeats were glad of the assistance
of Mr. Moore in founding "The Irish Literary Theatre," not only for the
prominence of his name as novelist and as Moore of Moore Hall, and for
his known provocativeness in pamphleteering and his capacity for drawing
the fire of opponents, but for what knowledge he had of playwriting and
for what experience he had in getting together and training actors for
special performances such as those of "The Independent Theatre."

I have already spoken of what Mr. Moore did to "A Tale of a Town" to
make it "The Bending of the Bough." From the beginning of Act II on to
the end, he rewrote almost all of it, retaining only now and then an
eloquent or a biting line from Mr. Martyn's play. Mr. Moore changes the
scene of the play from Ireland to Scotland, that its allegory may not be
so obvious; he develops Kirwan's character until he becomes not only a
sort of composite spiritual portrait of the leaders of the Renaissance
but a believable leader of men; and he makes Millicent's moulding of
Dean to her will human, as I have said, and--Dean being the weakling
that he was--inevitable. Mr. Moore cuts the play down where it is
stodgy, he expands it where expansion realizes for you more of
character and motives of his people, he infuses into it more of the
spirit of the movement, and he makes its patriotism wider in its appeal,
a bigger and a better thing at once more concrete and more concerned
with the things of the spirit.

"Diarmid and Grania" (1901), the prose play written in collaboration by
Mr. Yeats and Mr. Moore, I write of here rather than in the chapter
devoted to Mr. Yeats because, as the legend is shaped in the play, it
has more of Mr. Moore than of Mr. Yeats in it. As neither of the
collaborators was satisfied with the play as produced, and as neither
has been willing to give it up to the other to rewrite, "Diarmid and
Grania" has never been published. The notices of its production, on
October 21, 1901, at th