n 'tis
least prepared. Let who will deride us, but let us prepare. We may not
guide our steps with the certainty of prophets, nor hope by our
beautiful schemes to make a perfect state; but we can only come near to
perfection in the light of a perfect ideal, and however far below it we
may remain, we can at least, under its inspiration, reach an existence
rational and human: our justification for a brave effort lies in that
the governments of this time are neither one nor the other. He who
thinks Ireland's struggle to express her own mind, to give utterance to
her own tongue, to stand behind her own frontier, is but a sentiment
will be surprised to find it leads him to this point. Herein is the
justification and the strength of the movement. Men are deriding things
around them, of the significance of which they have not the remotest
idea. Ireland is calling her children to a common banner, to the defence
of her frontier, to the building up of a national life, harmonious and
beautiful--a conception of citizenship, from which a right is conceded,
not because it can be compelled, but because it is just: to the
foundation of a state that will by its defence of the least powerful
prove all powerful, that will be strong because true, beautiful because
free, full of the music of her olden speech and caught by the magic of
her encircling sea.

CHAPTER X

LITERATURE AND FREEDOM--THE PROPAGANDIST PLAYWRIGHT

I

A nation's literature is an index to its mind. If the nation has its
freedom to win, from its literature may we learn if it is passionately
in earnest in the fight, or if it is half-hearted, or if it cares not at
all. Whatever state prevails, passionate men can pour their passion
through literature to the nation's soul and make it burn and move and
fight. For this reason it is of transcendent importance to the Cause.
Literature is the Shrine of Freedom, its fortress, its banner, its
charter. In its great temple patriots worship; from it soldiers go
forth, wave its challenge, and fight, and conquering, write the charter
of their country. Its great power is contested by none; rather, all
recognise it, and many and violent are the disputes as to its right use
and purpose. I propose to consider two of the disputants--the
propagandist playwright and the art-for-art's-sake artist, since they
raise issues that are our concern. It is curious that two so violently
opposed should be so nearly alike in error: they are b