This volume collects Yeats's early narrative poem "The Wanderings of Oisin" and the plays "The Countess Cathleen" and "The Land of Heart's Desire," all revised for practical stage performance. The preface candidly addresses the shift from imagined stage-pictures to plays that "depend upon the player," marking a turning point in Yeats's dramaturgy. The excerpts show a poet self-consciously reworking his own work—altering endings, resetting a play in time to avoid anachronistic dialect—while preserving the core tension between the mortal world and the seductive, perilous faery realm.

Revision as a Creative Act

Yeats's preface treats revision not as correction but as a practical and artistic reimagining. He notes that "The Countess Cathleen" and "The Land of Heart's Desire" were written before he had "any practical experience" of the stage. The first two scenes of the former are "wholly new," and an alternative ending is supplied in the notes. For the latter, Yeats moved the setting backward in time because "metrical speech would have sounded unreal" in a contemporary cottage. These changes reveal a writer adjusting his own earlier aesthetic—one that valued "variety of stage-picture"—toward a theatre where all would rest on the player's performance.

The Faery Child's Rhetoric of Escape

In the climactic scene of "The Land of Heart's Desire," the Child tempts the newly married Mary Bruin with a world where "beauty has no ebb, decay no flood" and "nobody gets old and crafty and wise." The repetition of "nobody gets old" in three successive lines builds an incantatory rhythm, contrasting sharply with the priest's appeals to duty and heaven. The Child's language is concrete and sensory—"woods and waters and pale lights," "white bird with crest of gold"—while the mortal characters speak of churns, butter, and graves. This lexical divide underscores the central conflict: the allure of timeless joy versus the weight of domestic and religious obligation.

Staging the Invisible: Obstacles and Barriers

Yeats dramatizes supernatural power through physical impediments. When Shawn tries to approach the Child, he cannot; Maurteen describes him moving his hands "as though he rubbed them on a wall of glass." The stage direction that the family gathers "behind the priest for protection" visualizes the division between human and faery. The Child's power is explicitly linked to the removal of the crucifix—a stage property that becomes a theological fulcrum. These moments show Yeats using blocking and gesture to make metaphysical forces tangible, a technique that would become central to his later, more symbolist plays.

Readers encountering these early works should attend to the interplay between Yeats's lyrical language and his evolving sense of theatre. The revisions documented in the preface offer a rare glimpse into a poet's practical craft, while the plays themselves stage a persistent question: what is lost or gained when the mortal world is exchanged for a dream of permanence? The volume rewards attention to both the poetry of the lines and the physical actions that embody them.