The Hill of Vision is a very unequal book. There are many verses full of power, which move with the free easy motion of the literary athlete. Others betray awkwardness, and stumble as if the writer had stepped too suddenly into the sunlight of his power, and was dazed and bewildered. There is some diffusion of his faculties in what I feel are byways of his mind, but the main current of his energies will, I am convinced, urge him on to his inevitable portrayal of humanity. With writers like Synge and Stephens the Celtic imagination is leaving its Timanoges, its Ildathachs, its Many Colored Lands and impersonal moods, and is coming down to earth intent on vigorous life and individual humanity. I can see that there are great tales to be told and great songs to be sung, and I watch the doings of the new-comers with sympathy, all the while feeling I am somewhat remote from their world, for I belong to an earlier day, and listen to these robust songs somewhat as a ghost who hears the cock crow, and knows his hours are over, and he and his tribe must disappear into tradition. 1912 A NOTE ON SEUMAS O'SULLIVAN As I grow older I get more songless. I am now exiled irrevocably from the Country of the Young, but I hope I can listen without jealousy and even with delight to those who still make music in the enchanted land. I often searched in the "Poet's Corner" of the country papers with a wild surmise that there, amid reports of Boards of Guardians and Rural Councils, some poetic young kinsman may be taking council with the stars, watching more closely the Plough in the furrows of the heavens than the county instructor at his task of making farmers drive the plough straight in the fields. I found many years ago in a country paper a local poet making genuine music. I remember a line: And hidden rivers were murmuring in the dark.