Two plays for dancers — Reading Notes
Edition facts
The source record for Two plays for dancers — Reading Notes measures this digital text at 9,697 words, 43 min estimated reading time, and 2 detected text sections.
The text analysis averages about 21.6 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Ireland -- Drama,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
And were not of our race, but when a man Is born in Ireland and of Irish stock When he takes part against us--
I will put you safe, No living man shall set his eyes upon you. I will not answer for the dead.
For certain days the stones where you must lie Have in the hour before the break of day Been haunted.
But I was not born at midnight.
Many a man born in the full daylight Can see them plain, will pass them on the high-road Or in the crowded market-place of the town, And never know that they have passed.
My Grandam Would have it they did penance everywhere Or lived through their old lives again.
In a dream; And some for an old scruple must hang spitted Upon the swaying tops of lofty trees; Some are consumed in fire, some withered up By hail and sleet out of the wintry North, And some but live through their old lives again.
Well, let them dream into what shape they please And fill waste mountains with the invisible tumult Of the fantastic conscience. I have no dread; They cannot put me into jail or shoot me, And seeing that their blood has returned to fields That have grown red from drinking blood like mine They would not if they could betray.
This pathway Runs to the ruined Abbey of Corcomroe; The Abbey passed, we are soon among the stone And shall be at the ridge before the cocks Of Aughanish or Bailevlehan Or grey Aughtmana shake their wings and cry.
(They go round the stage once)
(speaking) They've passed the shallow well and the flat stone Fouled by the drinking cattle, the narrow lane Where mourners for five centuries have carried Noble or peasant to his burial. An owl is crying out above their heads. (singing) Why should the heart take fright What sets it beating so? The bitter sweetness of the night Has made it but a lonely thing. Red bird of March, begin to crow, Up with the neck and clap the wing, Red cock, and crow.
(They go once round the stage. The first musician speaks.)
And now they have climbed through the long grassy field And passed the ragged thorn trees and the gap In the ancient hedge; and the tomb-nested owl At the foot's level beats with a vague wing. (singing) My head is in a cloud; I'd let the whole world go. My rascal heart is proud Remembering and remembering. Red bird of March, begin to crow, Up with the neck and clap the wing Red cock and crow.
(They go round the stage. The first musician speaks.)
They are among the stones above the ash Above the briar and thorn and the scarce grass; Hidden amid the shadow far below them The cat-headed bird is crying out. (singing) The dreaming bones cry out Because the night winds blow And heaven's a cloudy blot; Calamity can have its fling. Red bird of March begin to crow, Up with the neck and clap the wing Red cock and crow.
We're almost at the summit and can rest. The road is a faint shadow there; and there The abbey lies amid its broken tombs. In the old days we should have heard a bell Calling the monks before day broke to pray; And when the day has broken on the ridge, The crowing of its cocks.
Is there no house Famous for sanctity or architectural beauty In Clare or Kerry, or in all wide Connacht The enemy has not unroofed?
Close to the altar Broken by wind and frost and worn by time Donogh O'Brien has a tomb, a name in Latin. He wore fine clothes and knew the secrets of women But he rebelled against the King of Thomond And died in his youth.
And why should he rebel? The King of Thomond was his rightful master. It was men like Donogh who made Ireland weak-- My curse on all that troop, and when I die I'll leave my body, if I have any choice, Far from his ivy tod and his owl; have those Who, if your tale is true, work out a penance Upon the mountain-top where I am to hide, Come from the Abbey graveyard?
Yeats's preface to Two Plays for Dancers refers readers to his earlier notes on why he 'preferred this kind of drama' and to the introduction of Certain Noble Plays of Japan, signaling that these plays are experiments in a non-realistic, ritualistic theater. The stage directions for 'The Dreaming of the Bones' specify 'any bare place in a room close to the wall' with a screen or curtain that 'must only symbolize or suggest,' and the musicians unfold a cloth as in 'The Hawk's Well.' This emphasis on minimal, symbolic staging is a deliberate rejection of the proscenium arch and naturalistic scenery.
Masks, Music, and the Dancer's Body
Both plays require performers to wear 'heroic masks'—the Stranger and Girl in 'The Dreaming of the Bones' and the Figure of Cuchulain, Emer, and the Woman of the Sidhe in 'The Only Jealousy of Emer.' Yeats's stage directions for the Woman of the Sidhe specify that 'her mask and clothes must suggest gold or bronze or brass or silver so that she seems more an idol than a human being,' and her movements should 'keep the metallic suggestion.' This is not mere decoration: the mask and stylized movement transform the actor into an archetypal figure, while the dance itself becomes a dramatic language. In 'The Only Jealousy of Emer,' the Woman of the Sidhe 'moves round the crouching Ghost of Cuchulain at front of stage in a dance that grows gradually quicker, as he slowly awakes,' accompanied by 'string and flute and drum.' The dance is not an interlude but the core of the action, conveying seduction and supernatural power without words.
The Landscape as Symbolic Space
Yeats anchors his plays in specific Irish locations—County Clare and the Abbey of Corcomroe in 'The Dreaming of the Bones,' and the 'Country-Under-Wave' in 'The Only Jealousy of Emer'—but these are not realistic settings. The hills are 'like a circle of Agate or of Jade,' and the stage itself is a bare space where 'the pattern must only symbolize or suggest.' The natural world is charged with supernatural meaning: birds cry 'loneliness,' and the moon is 'covered up' or 'reeling.' In 'The Only Jealousy of Emer,' the Sidhe are 'fishers also and they fish for men with dreams upon the hook,' and the Woman of the Sidhe has 'hurried from the Country-Under-Wave and dreamed herself into that shape.' The landscape is not a backdrop but a threshold between the mortal and the immortal, where dreams and memories take physical form.
The Weight of the Past: Historical and Mythical Allusions
Yeats's note to 'The Dreaming of the Bones' acknowledges that Mr. W. A. Henderson 'wrote out for me all historical allusions to Dervorgilla,' the woman whose elopement with Diarmuid Mac Murchada traditionally brought the Normans to Ireland. The play thus weaves historical guilt into its supernatural plot: the Stranger and Girl are likely the ghosts of Dervorgilla and Diarmuid, doomed to wander until forgiven. In 'The Only Jealousy of Emer,' the ghost of Cuchulain is tormented by 'old memories' of 'a dying boy, with handsome face upturned upon a beaten place' and 'a woman that held in steady hand... a burning wisp to light the door.' These are not generic regrets but specific references to Cuchulain's mythological biography—his killing of his son, his betrayal of Emer. Yeats does not explain these allusions; he expects the reader to know the stories, or to accept them as fragments of a larger, half-glimpsed narrative.
Readers coming to these plays without knowledge of Irish myth or Yeats's earlier work will find the allusions dense and the action elliptical. The preface and stage directions are essential: they explain the theatrical principles behind the masks, the dance, and the bare stage. Treat the plays as scripts for performance, not as naturalistic dramas—the words are only part of the experience, and the dance, music, and visual symbolism carry as much meaning as the dialogue.
That grey afternoon, Yeats’s stage directions for Two Plays for Dancers felt like rain against the window—each gesture weighed, deliberate, stripped of accident. His masks and ritual left me thinking about history’s performed traitors, so I later picked up The Treason and Death of Benedict Arnold: A Play for a Greek Theatre — Edition Insights. The leap surprised me, but both share that strange, formal distance.
There are no reviews for this eBook.
What did you think of this book?
Answer a few questions and save a private reflection on this device.