While this work was passing through the press Mr. J. M. Synge died. Upon the morning of his death one friend of his and mine, though away in the country, felt the burden of some heavy event, without understanding where or for whom it was to happen; but upon the same morning one of my sisters said, 'I think Mr. Synge will recover, for last night I dreamed of an ancient galley labouring in a storm and he was in the galley, and suddenly I saw it run into bright sunlight and smooth sea, and I heard the keel grate upon the sand.' The misfortune was for the living certainly, that must work on, perhaps in vain, to magnify the minds and hearts of our young men, and not for the dead that, having cast off the ailing body, is now, as I believe, all passionate and fiery, an heroical thing. Our Daimon is as dumb as was that of Socrates, when they brought in the hemlock; and if we speak among ourselves, it is of the thoughts that have no savour because we cannot hear his laughter, of the work more difficult because of the strength he has taken with him, of the astringent joy and hardness that was in all he did, and of his fame in the world. II In his Preface he speaks of these poems as having been written during the last sixteen or seventeen years, though the greater number were written very recently, and many during his last illness. _An Epitaph_ and _On an Anniversary_ show how early the expectation of death came to him, for they were made long ago. But the book as a whole is a farewell, written when life began to slip from him. He was a reserved man, and wished no doubt by a vague date to hide when still living what he felt and thought, from those about him. I asked one of the nurses in the hospital where he died if he knew he was dying, and she said, 'He may have known it for months, but he would not have spoken of it to anyone.' Even the translations of poems that he has made his own by putting them into that melancholy dialect of his, seem to express his emotion at the memory of poverty and the approach of death. The whole book is of a kind almost unknown in a time when lyricism has become abstract and impersonal. III