point of studying from nature, not only in their dancing, but in their
acting and singing, so that their performances were always true to life,
without an atom of exaggeration. They were always received with great
enthusiasm, particularly by the old people, who seemed transported back,
as by the touch of a magic wand, to the scenes of their youth.

We finished the evening with a sketch, written by John McArdle, called
"Phil Foley's Frolics"--he was fond of alliteration. Noticing that
Joseph Ward had made a special study of the comfortable old Irish
_vanithee_, and had many of her quaint and humorous sayings, he added to
the characters a special part for him--"Mrs. Casey,"--to which he did
full justice. Indeed, so incessant was the laughter that followed each
sally, that he and Barry Aylmer, who was the Phil Foley, sometimes found
it difficult to get the words of the dialogue in between. We had
another sketch, "Pat Houlahan's Ghost," which used to go very well.

The first part of the entertainment, showing old Terence in the chimney
corner and the others singing songs and telling stories, almost
necessitated our sitting around in a semi-circular formation. This gave
us much the appearance of a nigger troupe. To depart from this somewhat,
we occasionally introduced a trifling plot. We made it that one of the
sons of the house entered while the family were engaged in their usual
avocations, having unexpectedly returned from America. Then came the
affectionate family greeting, and the bringing in of the friends and
neighbours, who formed a group sitting around the turf fire, making a
merry night of it.

The services of the "Emerald Minstrels" were in great demand, and were
always cheerfully given for Catholic, National and charitable objects.