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A man who is not afraid of the sea will soon be drownded,' he said, 'for he will be going out on a day he shouldn't. But we do be afraid of the sea, and we do only be drownded (Prose, p. ' The immediacy of the observation, the vigour of the colloquialism, and the strength of the language, are in strong contrast to the following paragraph: I have seen symphonies of colour that moved with musical recurrence round centres I could not understand: I have passed the solitude of seas and felt with cold hands the tropical profusion in their caverns of undulating gloom and then all these things rolled themselves in a vortex and left a single lily in their wake.

16 44 Synge and the Theatre When Gabriel Fallon joined the Abbey Company as an actor, Frank Fay gave him a copy of Arthur Symon's book, Plays, Acting and Music, referring him especially to an essay, 'Coquelin and Moliere' . In marrying the naturalism of Antoine (which Yeats disliked) and the classicism of Coquelin, the Fays turned what seemed insurmountable difficulties to their advantage. They had little money so they simplified scenery and theatrical effects; the actors were amateurs and full-time working people so they cultivated simplicity of technique and speech.

Since the hall was rented, it meant that rehearsals had to be held elsewhere, a great disadvantage. Miss A. E. Horniman's purchase of the Abbey Theatre marked an important step in the development of facilities that would enhance the work of the Abbey dramatists. 'I can only afford to make a very little Theatre,' she wrote to Yeats in 1904, 'and it must be quite simple. ' The new theatre seated 178 persons in the stalls, 186 in the pit, 198 in the balcony. The lighting was by electricity and the stage itself was lit by foot and head reflectors that were used to reinforce the mood and action of the play.

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