In all drama o reverie, to tself, t cy of dialogue.  of t ve passions,  keep up appearances cest born of Cadmus line o reports and discuss taking part as it ate. Noty of Greek drama, and in a lesser degree of t of Corneille and Racine depends, as contrasted roubled  life of S even speed of dialogue, and on a so continuous exclusion of tion of common life, t t remains lofty and language ricage everyter, and e structure of blank verse, obtains time for reverie by an often encumbering Eup as o look at life from . Maeterlinck, to name t modern of to mind??reacead of  as a breat a dream. Modern drama, on ts tig,  its expression of t leaves to be inferred from some common?place sentence or gesture as  in ordinary life; and tual disappointment of t France or Spain or Germany or Scandinavia  last produce ter .

    ts are almost all in t instance tec scal of ty of dialogue. Synge found t suited emperament in an elaboration of ts of Kerry and Aran. tative, as befits t of men  ten patiently, eacurn and for some little time, and taking pleasure in t, ical, is as full of traditional ravagant pictures as t of some Aescter opic is, it is as t  is toric, for t, tless ell you t like Rafterys  for too, for it could not even express, so little abstract it is and so rammed ions of national propaganda. Ill be telling you t story youd o Ballinacree  queens in it, making tcart to tory of t queens of Ireland, e necks on t you a slap....  good am I t, God  good are tories I s feen to an old  a