Mrs. Katherine Tynan Hinkson, a friend of Yeats in young manhood and later life, in her _Twenty-Five Years; Reminiscences_ has given interesting stories of his zest in reciting his poems, even in the middle of the night and of his dreamy, gentle nature. In 1889, _The Wanderings of Oison_ established the fame of the young Irish lyrist. Besides the title-poem here were “The Stolen Child” and “The Madness of King Goll.” Influences of Tom Moore were traceable in a poem, with lilting rhymes, like “Down by the Salley Gardens,” pictorial and sentimental. In London, after the poems were published, Yeats was still homesick, although he made congenial friends at the Cheshire Cheese--Arthur Symons, Lionel Johnson, and W. E. Henley, who obtained for him a commission to write some topics about Ireland for Chambers’ _Encyclopedia_. His interest was strong in varied “cults” and forms of symbolism which he revealed in his poems, _The Wind Among the Reeds_, and the essays, _Ideas of Good and Evil_. Mr. Yeats is both lyrist and playwright; to the latter type of writing he owes his recognition by students of the drama in every country; the two qualities are interwoven in his plays. George Moore, Lady Gregory, Forrest Reid, his critic and biographer, and others have stressed his large part in the success, as well as the inception, of the Abbey Theatre, “a gift of immense and national importance upon Ireland.”[160] One would not minimize the work of Lady Gregory and Douglas Hyde, of William Fay and Florence Farr and Miss Horniman, who contributed as actors, playwrights, and financial supporters. The assurance of this theater for performance of his plays gave incentive to the dramatic impulse of Yeats. He created new plots and utilized folk tales interwoven with fantasy and poetry. With the aid of Lady Gregory and Edward Martyn, he won success with plays like _The Pot of Broth_, _Cathleen ni Hoolihan_, _The King’s Threshold_, _The Land of Heart’s Desire_, _Deirdre_ and _The Hour-Glass_. This last play, first in prose, later in verse, is a masterpiece of the morality-play; the Wise Man, faced with death within an hour, goes desperately in search for “one person who believes in God and Heaven,” so that he may go to Paradise. Only in Teague, the fool, who has learned his lessons, _not_ in the schools of the Wise Men but in the _woods_, can he find such assurance. In later versions of this play the author introduced a strange Gaelic ballad.