It should be remembered that while these three leaders are best known, half a dozen other able Irish dramatists are associated with them, and doing much to interpret the farmer or city folk: writers like Mayne, Boyle, McComas, Murray, and Robinson. Under the stimulus of Shaw in his reaction against the machine-made piece and the tiresome reiteration of sex motives, there has sprung up a younger school which has striven to introduce more varied subject-matter and a broader view, also greater truth and subtler methods in play-making. Here belong Granville Barker, with his _Voysey Inheritance_ (his best piece), noteworthy also as actor-manager and producer; the novelists, Galsworthy and Bennett; and Masefield, whose _Tragedy of Nan_ contains imaginative poetry mingled with melodrama; and still later figures, conspicuous among them the late Stanley Houghton, whose _Hindle Wakes_ won critical and popular praise; others being McDonald Hastings with _The New Sin_; Githa Sowerby, author of the grim, effective play, _Rutherford and Son_; Elizabeth Baker, with _Chains_ to her credit; Wilfred Gibson, who writes brief poignant studies of east London in verse that in form is daringly realistic; Cosmo Hamilton, who made us think in his attractive _The Blindness of Virtue_; and J. O. Francis, whose Welsh play, _Change_, was recognized as doing for that country the same service as the group led by Yeats and Synge has performed for Ireland. A later Synge seems to have arisen in Lord Dunsany, whose dramas in book form have challenged admiration; and since his early death St. John Hankin's dramatic work is coming into importance as a masterly contribution to light comedy, the sort of drama that, after the Wilde fashion, laughs at folly, satirizes weakness, refrains from taking sides, and never forgets that the theater should offer amusement.