The 1930s was a period of transition in Hewitt's poetry, one in which he began seriously to address the tortured history of his native province, and the contradictions between his love for the people and the landscape, his inspiration in the radical dissenting tradition, and the bloody, fratricidal conflicts which scar Northern Ireland to this day. A key text is "The Bloody Brae: A Dramatic Poem" (finished in 1936, though not broadcast – on the Northern Ireland Home Service of the BBC – until 1954; the Belfast Lyric Players performed a stage version in 1957, which they revived in 1986), which tells of a legendary massacre of Roman Catholics by Cromwellian troops in Islandmagee, County Antrim, in 1642. John Hill, one of the soldiers who has been racked by guilt since he participated in the slaughter, returns many years later to beg forgiveness. This he receives from the ghost of one of his victims, a gesture which she wraps in a condemnation of his self-indulgence, luxuriating in his guilt rather than taking positive action to combat bigotry. Another theme which was to become a fixture in Hewitt's poetry also first appears in "The Bloody Brae"; that is, a bold assertion of the right of his people to live in Ulster, rooted in their hard work and commitment to it: