It is clear that such work, however delightful to him, meant a considerable call upon his time and strength: the more so as it went hand in hand with constant labours on behalf of the Yorkshire Dialect Society, for which he was the most indefatigable of travellers--cycling his way into dale after dale in search of "records"--and of which, on the death of his friend, Mr Philip Unwin, he eventually became president. Nor was this all. During the last seven years or so of his life the creative impulse, the need of embodying his own life and the lives of those around him in imaginative form was constantly growing upon him, and a wholly new horizon was opening before him. At first he may have thought of nothing more than to produce plays suitable for performance either by the students of the University or by young people in those Yorkshire dales with which his affections were becoming year by year increasingly bound up. But, whatever the occasion, it soon proved to be no more than an occasion. He swiftly found that imaginative expression not only came naturally to him, but was a deep necessity of his nature; that it gave a needed outlet to powers and promptings which had hitherto lain dormant and whose very existence was unsuspected by his friends, perhaps even by himself. _The May King_, _Potter Thompson_, the adaptation of the _Second Shepherds' Play_ from the fifteenth-century _Towneley Mysteries_ followed each other in swift succession; and the two first have, or will shortly have, been performed either by University students or by school children of "the Ridings."(6) This is not the place to attempt any critical account of them. But there are few readers who will not have been struck by the simplicity with which the themes--now pathetic, now humorous, now romantic--are handled, and by the easy unconsciousness with which the Professor wears his "singing robes."