Once when I had been saying that though it seemed to me that a conventional descriptive passage encumbered the action at the moment of crisis. I liked The Shadow of the Glen better than Riders to the Sea that is, for all the nobility of its end, its mood of Greek tragedy, too passive in suffering; and had quoted from Matthew Arnolds introduction to Empedocles on Etna, Synge answered, It is a curious thing that "The Riders to the Sea" succeeds with an English but not with an Irish audience, and "The Shadow of the Glen" which is not liked by an English audience is always liked in Ireland, though it is disliked there in theory. Since then The Riders to the Sea has grown into great popularity in Dublin, partly because with the tactical instinct of an Irish mob, the demonstrators against The Playboy both in the press and in the theatre, where it began the evening, selected it for applause. It is now what Shelleys Cloud was for many years, a comfort to those who do not like to deny altogether the genius they cannot understand. Yet I am certain that, in the long run, his grotesque plays with their lyric beauty, their violent laughter, The Playboy of the Western World most of all, will be loved for holding so much of the mind of Ireland. Synge has written of The Playboy anyone who has lived in real intimacy with the Irish peasantry will know that the wildest sayings in this play are tame indeed compared with the fancies one may hear at any little hillside cottage of Geesala, or Carraroe, or Dingle Bay.

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