her views, Milligan's childhood community excluded her. At the same time she found that in nationalist circles her Protestant background could count against her. What won over many over was her undeniable role in the cultural revival. Milligan's contemporary and fellow poet, Susan Langstaff Mitchell, wrote of her in 1919:In almost every one of the national and intellectual activities in Ireland now known to everyone - the Gaelic Revival, the dramatic movement, the literary renaissance - this indefatigable Irish girl was there at the start of them. She was lecturing for the Gaelic League all over Ireland, she was writing plays and staging them [...] and she was [repeating the judgement of editor and critic, George Russell]. the most successful producer of plays before the Abbey Theatre started on its triumphant way. Comparing her to the Young Irelander Thomas Davis, in the Irish Review in September 1914 Tomas MacDonagh described Milligan as "the most Irish of living poets and therefore the best". W.B. Yeats was less convinced. Not least because of the comparison with Davis's heavy-laden patriotic verse, he advised her to stick to drama. “The Last Feast of the Fianna” From 1898, in short succession Milligan wrote eleven plays staged by Maud Gonne's Inghinidhe na hÉireann (Daughters of Ireland), the Gaelic League and Irish Literary Theatre. In February 1901, the ILT performed “The Last Feast of the Fianna” in Dublin's Gaiety Theatre. Depicting an episode in the Oisin legend, it was a Greek stage invocation of the twilight of pre-Christian Ireland. The play's lack of action and use of music (provided by her sister Charlotte) created moments of "picturesque stillness" on stage suggestive of the tableaux vivant which Milligan mounted on tour for the Gaelic League. At one such moment, John O'Leary, provided "an extraordinary uniting of past and present, legendary and historical.". The Freeman's Journal reported that the Fenian chief, veteran of the 1867 Rising, "favoured the authoress by appearing [on stage] amongst the band of warriors [Fianna] feasting at the banquet board". The reviewer of the Dublin edition of the Daily Express concluded that "if the aim of the Irish Literary Theatre is to create a national drama", it was "obvious" that Miss Milligan's method was "the proper road" to follow. Yeats, who was working with George Moore on a comparable project (Diarmuid and Grania), did allow that the play "touched the heart as some greater drama