Mr. Yeats leaves out of his collected poems the plays of his boyhood, "The Island of Statues" (1885) and "Mosada" (1886). They were not of Ireland, but the Arcady of the one and the mediæval Spain of the other he could easily have paralleled in Irish legend, where anything wonderful and tragic is possible. Nor is "The Countess Cathleen" (1892-99), in its presentation of the drama of a woman that sells her soul that the souls of her tenantry may be saved, essentially Irish. It is curious that among English poets of Mr. Yeats's generation it should be Mr. Kipling that has happened upon the same legend, which he adapts to his ends in "The Sacrifice of Er-Heb." The background of "The Countess Cathleen" in the earlier versions was not more essentially Irish than the story. "The great castle in malevolent woods" and the country about it is very like the part of fairyland that M. Maeterlinck refound by following the charts of early discoverers in Arthurian legend. In its later versions "The Countess Cathleen" is more Irish and perhaps more dramatic, though its greatnesses, after that of atmosphere, the great lines we may no more forget than those about "the angel Israfel"
"Whose heart-strings are a lute";
or about
"magic casements, opening on the foam
Of perilous seas, in fairy lands forlorn";
or about
"old, unhappy, far-off things
And battles long ago";
or about hearing
"the far-off curfew sound