I have added some passages to "The Land of Heart's Desire," and a new scene of some little length, besides passages here and there, to "The Countess Cathleen." The goddess has never come to me with her hands so full that I have not found many waste places after I had planted all that she had brought me. The present version of "The Countess Cathleen" is not quite the version adopted by the Irish Literary Theatre a couple of years ago, for our stage and scenery were capable of little; and it may differ more from any stage version I make in future, for it seems that my people of the waters and my unhappy dead, in the third act, cannot keep their supernatural essence, but must put on too much of our mortality, in any ordinary theatre. I am told that I must abandon a meaning or two and make my merchants carry away the treasure themselves. The act was written long ago, when I had seen so few plays that I took pleasure in stage effects. Indeed, I am not yet certain that a wealthy theatre could not shape it to an impressive pageantry, or that a theatre without any wealth could not lift it out of pageantry into the mind, with a dim curtain, and some dimly lighted players, and the beautiful voices that should be as important in poetical as in musical drama. The Elizabethan stage was so little imprisoned in material circumstance that the Elizabethan imagination was not strained by god or spirit, nor even by Echo herself – no, not even when she answered, as in "The Duchess of Malfi," in clear, loud words which were not the words that had been spoken to her. We have made a prison-house of paint and canvas, where we have as little freedom as under our own roofs, for there is no freedom in a house that has been made with hands. All art moves in the cave of the Chimæra, or in the garden of the Hesperides, or in the more silent house of the gods, and neither cave, nor garden, nor house can show itself clearly but to the mind's eye.
Besides rewriting a lyric or two, I have much enlarged the note on "The Countess Cathleen," as there has been some discussion in Ireland about the origin of the story, but the other notes are as they have always been. They are short enough, but I do not think that anybody who knows modern poetry will find obscurities in this book. In any case, I must leave my myths and symbols to explain themselves as the years go by and one poems lights up another, and the stories that friends, and one friend in particular, have gathered for me, or that I have gathered myself in many cottages, find their way into the light. I would, if I could, add to that majestic heraldry of the poets, that great and complicated inheritance of images which written literature has substituted for the greater and more complex inheritance of spoken tradition, some new heraldic images, gathered from the lips of the common people. Christianity and the old nature faith have lain down side by side in the cottages, and I would proclaim that peace as loudly as I can among the kingdoms of poetry, where there is no peace that is not joyous, no battle that does not give life instead of death; I may even try to persuade others, in more sober prose, that there can be no language more worthy of poetry and of the meditation of the soul than that which has been made, or can be made, out of a subtlety of desire, an emotion of sacrifice, a delight in order, that are perhaps Christian, and myths and images that mirror the energies of woods and streams, and of their wild creatures. Has any part of that majestic heraldry of the poets had a very different fountain? Is it not the ritual of the marriage of heaven and earth?
These details may seem to many unnecessary; but after all one writes poetry for a few careful readers and for a few friends, who will not consider such details unnecessary. When Cimabue had the cry it was, it seems, worth thinking of those that run; but to-day, when they can write as well as read, one can sit with one's companions under the hedgerow contentedly. If one writes well and has the patience, somebody will come from among the runners and read what one has written quickly, and go away quickly, and write out as much as he can remember in the language of the highway.
W.B. YEATS.
January, 1901.
***
TO SOME I HAVE TALKED WITH BY THE FIRE
While I wrought out these fitful Danaan rhymes,My heart would brim with dreams about the timesWhen we bent down above the fading coals;And talked of the dark folk, who live in soulsOf passionate men, like bats in the dead trees;And of the wayward twilight companies,Who sigh with mingled sorrow and content,Because their blossoming dreams have never bentUnder the fruit of evil and of good:And of the embattled flaming multitudeWho rise, wing above wing, flame above flame,And, like a storm, cry the Ineffable Name,And with the clashing of their sword blades makeA rapturous music, till the morning break,And the white hush end all, but the loud beatOf their long wings, the flash of their white feet.
THE COUNTESS CATHLEEN
"The sorrowful are dumb for thee"
Lament of Morion Shehone for Miss Mary Bourke
TO MAUD GONNE
The Scene is laid in Ireland and in old times
SCENE I
Scene. —A room with lighted fire, and a door into the open air, through which one sees, perhaps, the trees of a wood, and these trees should be painted in flat colour upon a gold or diapered sky. The walls are of one colour. The scent should have the effect of missal painting. Mary, awoman of forty years or so, is grinding a quern.
MARY
What can have made the grey hen flutter so?
(TEIG, a boy of fourteen, is coming in with turf, which he lays beside the hearth.)
TEIG
They say that now the land is famine struckThe graves are walking.
