Irish Plays and Playwrights Part 14

protagonists instead of kings--who, like Pharaoh, are 'but a cry in Egypt,' outworn figures in these days with no beauty and no significance." "Judgment" is made out of the story of the countryside concerning "a tinker's woman," Peg Straw, and we may well believe Mr.

Campbell has changed it but little, as he says, for the purposes of his play. It had been a better play, perhaps, had he changed more the facts of the story. As it stands, the first act of the play is adequate dramatically, and beautiful with that sort of wild and outworld beauty Synge brought into English literature in Ireland; and the second act beautiful with that beauty, and inadequate dramatically.

Peg Straw is an old, worn woman of the roads whom the people hold little better than a witch, even attributing to her the power fabled of the witches in folk-tales of turning themselves into hares. Her nickname "Straw" indicates the nature of the mild dementia that sets the children and the idlers at her heels. She goes about picking up "straws" until "she'd have a bunch in her hand ... every little stalk bit off as neat as neat, and it like a scrubber or dandy brush you'd put to a horse."

Peg speaks no word at all in the play, coming into sight in it only to die, but always she is in the background. Talk of her comes up early in the first act, and we learn that Nabla, the woman whose cabin is the play's first scene, has turned Peg away from the door only that morning; and from the moment we first hear of her most of the talk is of her, and the action because of her. Toward this first act's end you hear her cries as the tinkers beat her, and at its end she crawls into the cabin to die, and in dying to shock the woman of the house so that her child comes before its time. All the second act Peg lies in sight in the room just off the stage with candles stuck around her, bringing the horror and dignity of death into the wild scenes of her wake. These are wild not because of drinking for no one is drunk and only one "had drink taken," but because of the wildness of nature of these men of westernmost Europe, and because of the wildness of the roads that a "traveling man" brings with him out of the night. There is no action in this second and last act save that sprung of this stranger's entrance and quarrelsomeness, and his interruptions of an old, old man's story of what he knows of Peg's life. The stranger listens while Parry Cam tells of the cause of her madness, but when he repeats what for years has been the gossip of the countryside about her supposed killing of her babe, the "traveling man" interrupts and declares he is the son whom it was rumored she had drowned. In the end he is turned out of the house, not altogether unkindly, but as much for decency's sake as for his own. That the son, for any motive at all, should be turned out of the house where his mother lies dead, even though he had not stood by her living, is hard enough in the estimation of any people, but in the estimation of the Irish peasant it is intolerably tragic. If we realize this, the ending of the play will be on a note deeper and more significant than if we fail to realize it, but not even the utmost sympathy with the intention of the author and a full realization of the significance to Donegal peasants of the action can bring this act to an intensity comparable to that of the end of Act I, where two mysteries confront one another--"the pa.s.sing of a life from this world, the coming of a life into it."

All the characters in "Judgment" are "created." The personality of each colors his words and puts him before you distinct from every other.

Owen Ban the weaver, who takes in Peg when his wife Nabla, heavy with her first child, and nervous because of her condition and fearful of the birth, would keep out the outcast; old Parry Cam; John Gilla Carr; Colum Johnston and Father John; Nabla herself; and Kate Kinsella the midwife--each is himself or herself, each remains as distinct in your mind the unforgettable scenes of the play. Somehow or other, too, the country is suggested; you are aware that you are on a wild hillside above a glen,--you are aware of this not because the author tells us at the outset that the scene of the play is in the mountains of western Donegal, south of Lochros Beg Bay, but through the dialogue of the play itself. Both scenes of the play are indoors, and on dark nights of midwinter, but so instinct with many phases of the life of the people is it that its background of landscape rises before you only less distinctly than the visualization of its characters. Atmosphere the play has, and quality, both sprung of the sincerity of its feeling and imagination. So true are these, and so keen the author's reading of human nature, and so sure his character drawing, that for all his weakness of construction we may speak of his play alongside of the best Irish plays. The future promises finer things: meanwhile we are thankful for what is, for "Judgment,"--especially for its far-offness, its desolateness as of the world's end and the wind crying.

CHAPTER IX

WILLIAM SHARP ("FIONA MACLEOD")

There were relations other than that of a common purpose between William Sharp and the Irish writers of the Celtic Renaissance. He was a friend of Mr. Yeats, a correspondent of Mr. Russell, and the chief commentator in the English reviews on the work of the Irish group of its writers. At one time, after 1897, the relations.h.i.+p promised to be very close, indeed. William Sharp, experimenting in psychics with Mr. Yeats, found occasion to interest him in "Fiona Macleod," and as a result of that interest Mr. Yeats came to think the new writer might write Celtic plays for performances he intended to arrange for Irish literary organizations. Thus it is that Mrs. Sharp has to include in her memoir of her husband a long letter to "Fiona Macleod" from Mr. Yeats, in which he suggests: "The plays might be almost in some cases modern mystery plays. Your 'Last Supper,' for instance, would make such a play." Mr.

Sharp, apparently, did not follow up this suggestion, but shortly after the first performances of "The Irish Literary Theatre" in 1899 he wrote the two plays that, together with "Vistas," comprise all the dramatic writing that he has to his name. That "The Immortal Hour" and "The House of Usna" were intended for "The Irish Literary Theatre," I think there is little doubt, and it was only, I take it, when circ.u.mstances dictated that only plays by Irish writers should be put on by that theatre that Mr. Sharp looked elsewhere for their presentation. Only "The House of Usna" was, however, placed,--in the spring performances in London of The Stage Society, on April 29, 1900. Two months later "The House of Usna" was published in the July number of "The National Review." It pleased more, if we are to judge by the reviews, in the pages of the magazine than on the stage, but I hardly know why. "The House of Usna" is profoundly moving read in the study, surely, and if acted in such simplicity and enthusiasm as is that of the Abbey Theatre Players, I should think it would appeal as do the verse plays of Mr.

Yeats. No play I have read carries me further into antiquity than this, none preserves more of what imagination tells us must have been the wilder beauty of what still are places of wild beauty, of the savagery of that old life of the hero tales of Ireland. Mr. Yeats's plays do not so recapture the past, they take us rather to places out of time, where all things are possible, because the world we know is put aside and all but forgot. Even on the stage, however, the new beauty of "The House of Usna" was recognized, a beauty as distinctive as that of the two plays of M. Maeterlinck that were produced with it, "Interior" and "The Death of Tintagiles," but it was adjudged not to be drama in the accepted sense of the word. "The House of Usna" is written in a prose that has many of the effects of verse, but that is less luxuriant than the prose of "Vistas." "The Immortal Hour," published shortly afterwards in the "Fortnightly Review" (1900), is written in blank verse that shows its author has been carefully attentive to the rhythms of the blank verse of Mr. Yeats, but it is neither so poetic nor so dramatic as "The House of Usna." Both plays are written out of the old legends that are the common property of Irish and Scottish Gael, and in both Sharp has treated his material with his wonted freedom of adaptation, a freedom that is generally justified by his results, his instinctive surety of reconstruction of myths being such as to make one wonder, with Mr.

Russell, if Sharp is not, in some fas.h.i.+on, a reincarnation of a shanachie that sang as contemporary in the wars of Gael and Gall.

[Ill.u.s.tration]

A common preoccupation with the plays of M. Maeterlinck is another bond between the founder of the Abbey Theatre and Sharp, a preoccupation pa.s.sing rather quickly from Mr. Yeats, but long retaining its hold on the changing selves of Sharp. For all his early interest in "spiritual things," an interest very definitely expressed in "Romantic Ballads"

(1888), Sharp would not have come to "Vistas" (1894) without the guidance of M. Maeterlinck, and he admits as much in his preface to these "psychic episodes." "Vistas" he often referred to as heralding a "great dramatic epoch," and he evidently regarded them as, in a way, drama, but it is hardly likely that he dreamed of their enactment on the stage. Many of them are essentially dramatic, but their method of presentation is almost always lyric or narrative rather than dramatic, even in the Maeterlinckian sense of the word.

It is possible, however, that Sharp might have written other of his projected plays, "The Enchanted Valleys," "The King of Ys," "Drosdan and Yssul," and their many fellows he had projected by t.i.tle, and others, too, had not developments in Dublin, as I have said, carried Mr. Yeats away from him during 1899 and 1900, and had Sharp himself not during this drifting written that article "Celtic" which so aroused many in Ireland on its appearance in "The Contemporary Review." In this essay, basically a literary protest, "Fiona Macleod" declared "herself" against Separatist politics and affirmed "her" belief, as "she" had in "The House of Usna," that the future greatness of Ireland was to come, not through independence, but through the rebirth of her ancient spirituality in other nations to whom she had given her children.

The Celtic element in our national life [wrote "Fiona Macleod"] has a vital and great part to play. We have a most n.o.ble ideal if we will but accept it. And that is, not to perpetuate feuds, not to try to win back what is gone away upon the wind, not to repay ignorance with scorn, or dullness with contempt, or past wrongs with present hatred, but so to live, so to pray, so to hope, so to work, so to achieve, that we, what is left of the Celtic races, of the Celtic genius, may permeate the greater race of which we are a vital part, so that, with this Celtic emotion, Celtic love of beauty, and Celtic spirituality, a nation greater than any the world has seen may issue, a nation refined and strengthened by the wise relinquis.h.i.+ngs and steadfast ideals of Celt and Saxon, united in a common fatherland, and in singleness of pride and faith.

There was, however, if less intimacy with the Irish writers in these later years, no less admiration of their art, an admiration that led not only to praise of them in critical articles, but to a greater praise of imitation of their art. So possessed, indeed, was Sharp by the verse of the younger Irish poets as he read them to write of them, that when he turned to verse as "Fiona Macleod," he fell into their rhythms and reproduced the colors of their styles. Writing in prose as a critic of Mr. Yeats, Sharp came to write in verse as Mr. Yeats wrote, as in "The Dirge of the Four Cities": writing of "A.E." in prose as critic, Sharp came to write in verse as "A.E." wrote, as in "Flame on the Wind": writing of "Moira O'Neill," in prose as critic, Sharp came to write in verse as "Moira O'Neill" wrote, as in "I--Brasil": writing in prose as critic, of "Ethna Carberry," Sharp came to write in verse as "Ethna Carberry" wrote, as in "The Exile." So it was, also, that, coming to write of Celtic literature after study of Renan and Arnold, Sharp attained to something of their large utterance.

Sharp sees the Celtic Renaissance, however, always in relation to English literature, and always, it should be added, with French literature and Greek literature in the background. In this wide outlook, in his freedom from political prejudice, in his sympathy with Celtic literature and his knowledge of it, is his greatest strength as a critic of the Celtic Renaissance. His greatest weakness is his willingness in this writing, as elsewhere in his writing, to abide by first impressions, to abide also by the first-come phrase or epithet, banes of the ready writer. But read his essay "Celtic" after you have read the great essays of Renan and Arnold, and read it alongside of what Mr.

Yeats has to say of that literature, and you will find it, as I said, of the stature of these. You will at the same time find in this writing the answer to the contention that there were really two personalities in William Sharp. Even Mrs. Sharp, who writes so restrainedly about this question of dual personality, believes the a.n.a.lytical faculty belonged to William Sharp, the imaginative to "Fiona Macleod." But in this criticism of the Celtic Renaissance which is signed "Fiona Macleod,"

there is as much a.n.a.lysis as is to be found anywhere in his work as William Sharp. So obviously was he identifying "F.M." with "W.S." in this critical writing that Mrs. Janvier, of those in the secret, wrote to him to take warning lest he betray himself. She pointed out to him that such a display of learning as he was making in the later "Fiona Macleod" work would surely lead to discovery. But he did not heed. The truth probably was that he wrote about Celtic things as "Fiona Macleod"

because he perhaps felt about them, as "Fiona Macleod," as one who is bilingual thinks about work he is doing, say in German, in German, and about work he is doing in English, in English; but just as surely I believe, because what "Fiona Macleod" wrote commanded more respect than what William Sharp wrote, readier entrance into the magazines, and better pay. If there are those to whom such an explanation seems belittling to William Sharp, I can only say that they cannot have realized that he was a driven man earning his living by his pen. I am not, I confess, a sentimentalist in such matters, and while I do not wholly like his procedure in maintaining the fiction of "Fiona Macleod,"

it does not seem to me a very heinous sin.

He who would write of the work of William Sharp, indeed, must be resolute to remember that it is to be considered as an essay in the art of letters. There are so many temptations toward writing of it as a scientific problem,--for who is not interested in "dual personality"?--or as a "psychic revelation," if one is bitten--and who is not?--by curiosity about hidden "things"; or as an irritating hoax, if one has been befooled--and who, for one moment or another has not been?--into believing that this writing under the pseudonym of "Fiona Macleod" was the confession of a woman. The romance of it remains, no matter from what point of view you consider it, and, despite your preoccupation with this or that phase of it, the beauty of literary art of parts of it. Parts of it, I say, for to me no writer of our time was more uneven in his work. My point of view, indicated perhaps brutally, and with a firstly and secondly is:--

Firstly, that until he was nearly forty, William Sharp was no more than a skillful literary pract.i.tioner, a higher sort of hack, who had done some better writing of a tenuous kind of beauty but imitative in substance and art, in "Sospiri di Roma" and "Vistas," and that after forty, when he was developing one undeveloped side of himself as "Fiona Macleod," he developed another undeveloped side of himself in "Silence Farm." That he attained in a sort of writing, and greatly, that he had not attained in before, in "Silence Farm," has not been acknowledged, so easy has it been to those interested in his work to lose sight of all else in their pursuit of the "Fiona Macleod" side of his nature. It is true of "Silence Farm," as of almost all his other work done under the name of William Sharp, that it is imitative; but it is equally true that a large part of the "Fiona Macleod" work is imitative, too. "Silence Farm" is done under the influence of the later work of Mr. Hardy, but the material of "Silence Farm" is its author's own, and the color of the writing is as distinctly of the Lowlands as the color of "Tess" is of Wess.e.x. That "Silence Farm" is better work in its kind, though that kind is less original than some of his writing as "Fiona Macleod," I have been forced against my prejudices to believe. If I did not so believe I would not have spoken of it side by side with "Tess."

Secondly, that as "Fiona Macleod," William Sharp did much good writing in almost everything published under the pseudonym, achieving wholeness of good tissue in certain sketches and tales and verses on rather varying kinds of subjects, but that his work as "Fiona Macleod" that is really distinguished is in stories of prehistoric Scotland and Ireland, and of Scotland and Ireland in the earliest historic time. In these tales of the Gaels of old time he for the first time breaks ground for others. Before he wrote "Silk o' the Kine," and "The Harping of Cravetheen," "The Annir Choile," and "Enya of the Dark Eyes," there were no short tales of like temper and content and style in literature.

To me little is significant in the early verse of "Fiona Macleod," as little was significant in all the verse of William Sharp until the time of "Sospiri di Roma." And for all the beauty of these pictures in words of the Campagna it is but a transient beauty. It was not until he was mastered by the new beauty that Mr. Yeats brought into English poetry that the verse of William Sharp won to itself abiding beauty and glamour and inevitable phrase. "The House of Usna" (1900) brought to me "Dim face of beauty haunting all the world," and the 1901 edition of "From the Hills of Dream," "The Enchanted Valleys,"; but it was not until after his death that I came upon his best verse of all, the verse of his last five years, which was gathered together posthumously in the 1907 edition of "From the Hills of Dream," and included as "The House of Beauty" in "The Poems and Dramas" of 1911. Who does not know these sets of verses and "The Dirge of the Four Cities," does not know the ultimate accomplishment of William Sharp in poetry.

That the "'Fiona Macleod' mystery" ended with the death of William Sharp is, then, my belief, as it is that it began before he conceived of exploiting a feminine sub-self he had long been aware of in himself. The beginnings of that sort of writing that made "Fiona Macleod" a reputation are to be found very early in his writing, in "The Son of Allan" of 1881, in the "Record" of 1884, in the preface to the "Romantic Ballads" of 1888, in the "Vistas" of 1894. That these earlier expressions of "spiritual" states and guesses at mysteries are not, except for certain parts of "Vistas," so well written as the best writing of similar kind by "Fiona Macleod," is true, and perhaps, at first glance, a matter of wonder. It is, however, I think, not difficult to find an explanation of the better quality of the later work, and that explanation is afforded, firstly and most largely, by the Celtic Renaissance. A man of thirty-five, to all who know him a very vital force, a very original personality, who has all his life wanted to make beautiful things in words out of his dream of life, has disappointed himself and his friends. He is suddenly afforded the opportunity, by the interest in Gaelic subjects that the Celtic Renaissance has awakened, to gain a hearing for work of a kind he has long wanted to do. He had not done such work previously, because he had to live by his pen and could work consistently only at the sort of thing that would sell. He was well known as a journeyman of letters, so well known for bookmaking, and the ways of getting commissions from London editors and publishers, that his knowledge of Highland life would be questioned. All in London knew him as a Londoner. It would be useless for him to say that the Celtic Renaissance had brought back his childhood to him, a childhood as definitely dominated by a Highland nurse as Stevenson's was by the Lowland Alison Cunningham. It would be useless to tell of his summers in Argylls.h.i.+re and among the inner isles, his intimacy with fishermen who were as elemental as his own dreams of old time. It would have been cast up to him that the editor of "The Canterbury Poets" could not be an original writer, and the very nine days' wonder of "Vistas" would have been pointed to to prove that he might now do well enough, as an imitator, perhaps of Mr. Yeats, as he was in "Vistas;" successful as an imitator of M. Maeterlinck, but that an original Highland writer could not come out of Hampstead. There is no doubt in my mind that it was the part of wisdom for Sharp to put out the new work under a pseudonym, worldly wise if you will, but wise, too, with a higher wisdom. If he could keep the side of him he had never yet exhausted through hackwork apart from his other work, it would grow as it could not if it were a part of his daily stint.

Why Sharp chose a woman's name for his pseudonym has troubled many, but this choice was, I think, as was the a.s.sumption of a pseudonym, the part of wisdom. I do not believe, as he at times liked to believe, that he attained a woman's standpoint. He had been complimented on all sides for his composition of the wife's letters in "A Fellowe and his Wife"

(1892), in which Mrs. von Teuffel wrote the husband's. Sharp enjoyed their writing as a _tour de force_ and he probably believed they were very womanly. I should say that they showed insight into womanly ways of looking at things rather than a dramatic identification of himself with woman such as is George Meredith's. Sharp had already been experimenting with pseudonyms, that of "H.P. Siwaarmill," an anagram on his own name, being that he recurred to most often. He had written the whole of "The Pagan Review" in 1892 under eight different pseudonyms, and though, in the estimation of those to whom "Fiona Macleod" is all but a sacred name, it be sacrilegious to say it, William Sharp loved all sorts of fantastic tricks, hoaxes, mystifications, though in almost all his writing save in "Wives in Exile" he was seriousness itself. But the chiefest reason of all, in my estimation, for his a.s.sumption of a woman's name as his pseudonym was that it afforded greater protection against discovery. There are those who believe that he chose it because he wanted a chance to express that womanly element of human nature there is in all men, and there are others who believe that he was the possessor of a real dual personality in which the "Fiona Macleod's self"

was a woman's consciousness; but he very infrequently, after "The Mountain Lovers" (1895), kept in mind in the writings he published as "Fiona Macleod's" that their author was supposed to be a woman, and it is wonderful, indeed, that he was able to preserve the secret until the end. In the earlier "Fiona Macleod" writing there is no revelation of the wide acquaintance with literature that was Sharp's, but despite his hara.s.sment by the constant identification of himself with "Fiona Macleod," he gradually allowed to creep into that writing more and more of what was known to be the knowledge of William Sharp, a knowledge unlikely to be also that of a Highland lady who lived apart from the world. His friends pointed out to him the danger he was running in writing from what was obviously a man's standpoint, as in his tales of the wars of Gael and Gall, and of revealing several sorts of interest that were known to be his, but their warnings were in vain. He was apparently unable to limit himself to the restrictions of the part of himself he had essayed to restrict himself to.

For my own part I was now sure the writing must be Sharp's and now sure it could not be his. I did not know of his intimate concern with questions of feminism until I read Mrs. Sharp's "Memoir," so that outspoken chant, the "Prayer of Women" in "Pharais," "Fiona Macleod's"

first book, colored my outlook on all the writing that followed. I had no doubt at all but that "Pharais" was written by a woman, but "The Dan-nan-Ron" and "Silk o' the Kine" in "The Sin-Eater" (1895) seemed to me hardly a woman's. "The Washer of the Ford" (1896) was written from the man's point of view, too, but "Green Fire" (1896) seemed feminine again. So I wobbled in my opinion until "The Divine Adventure" (1900) and the critical writings of the volume that story gives t.i.tle to, and the critical writing in "The Winged Destiny" (1905), made me believe again that "Fiona Macleod" was surely Sharp. I did not come upon the articles that now make up "Where the Forest Murmurs" (1907) until after the death of Sharp and the disclosure of the secret. Had his death not divulged the secret of the ident.i.ty of "Fiona Macleod," it seems to me that collection must have disclosed it. Had Sharp lived after this there would not have been possible for him much further work from the seclusion his pseudonym gave him, and I doubt, once the secret was out, it would have been possible for him to write of things Celtic with the old gusto.

After all has been said it must be confessed, I think, that Sharp did not know the Highlander, either of the mainland or of the islands, very intimately. He wrote much better of his dream of life on the west coast in prehistoric times--out of his imagination of what that life must have been, an imagination founded on the reading of the old legends and modern collections of folk-lore, such as the "Carmina Gadelica" of Mr.

Carmichael--than he did out of his knowledge of Highland life of to-day.

The Achannas are in many of his tales of modern times, and wherever they are there is unreality, if not melodrama. Unreality, too, there is, in many phases, in the modern tales, and "highfalutinness" everywhere in them. And both unreality and "highfalutinness" offend in these modern tales as they would not in the tales of far times, though in these, as a matter of fact, they are not so much in evidence.

It would almost seem that the approach to reality drove Highland atmosphere from the stories. In "The Sin-Eater," one of the best of his writings that might be cla.s.sed as a short story, the sin-eater and his confidant are Highlanders, but the description of the scene of his misfortune, the steading of the Blairs, might well have been that nearest to "Silence Farm." It is faithfully described, the scenes about the little home, whose owner lies dead, having the very smack of realism. In the latter part of the story the scene s.h.i.+fts to the coast and the tang of the story turns Gaelic and unreal. Was it thus, I wonder, always to the imagination of William Sharp, Lowland life real, Highland life mystical?

Sharp was handicapped, of course, in coming to the subject material he could best handle late in life, "Pharais" (1894) and "The Mountain Lovers" (1895), the first books published as by "F.M.," being just as definitely 'prenticework in their kind as was "Children of To-morrow"

(1890) in its kind. Of the long stories other than "Children of To-morrow" published in his own name, "A Fellowe and his Wife" (1892) and "Wives in Exile" (1896) have no very serious intention, though both are well done after their kind, records of imaginings, respectively of experiences of art life in Rome, and of yachting experiences in the Irish Sea. It was not until "Silence Farm" (1899), as I have said, that, as William Sharp, he found himself.

"The Gypsy Christ" (1896), which might well have been developed into a full-fledged romance, is less original than any of his longer writings.

It is, like "The Weird of Michael Scott" and "A Northern Night," closely allied to essays of his other role, that of "F.M.," to catch and express "the tempestuous loveliness of terror," such as the catastrophe of "The Mountain Lovers," "The Barbaric Tales," and those short stories in which Gloom Achanna is hero-villain. It is in such work that Sharp shows his affinities to Poe, affinities which are not elsewhere as obvious as his affinities to De Quincey. Narrative was not native to De Quincey any more than it was to Sharp, though Sharp was led toward it by his interest in character, an interest that was not in any large measure given to De Quincey, who, when he turned to narrative other than that which relates what had happened to him or what he had dreamed had happened to him, makes the reader feel he did so as a concession to the public. Another interest that was Sharp's, an interest amounting to a pa.s.sion,--out-of-doors,--De Quincey had not at all, for all his devotion to Wordsworth and to Wordsworth's interests. Like De Quincey, on the other hand, Sharp delights in "fine writing," in both senses of the phrase, in the "highfalutin" that is objectionable, and in the ornately beautiful that is one fitting expression of romantic thought. Both men preferred the mouth-filling word to the simple one, the Latinical adjective to the Saxon; both had rather see visions and dream dreams than write about the "common light of common hours"; both goad their imaginations until they run riot and so confuse their possessors, who should control them, that they are unable to distinguish between what is fact and what is fancy. You could carry the a.n.a.logy further, to events of their lives--the runnings-away in boyhood; the devoted friends.h.i.+ps to poets in youth; the incredible amount of hard work achieved in manhood despite of often recurring illnesses.

Of the long stories published as by "F.M.," Sharp repudiated "Flora MacDonald" because it was too much in the way of "ordinary romance," and "Green Fire" for the same reason and because it was largely about Brittany, a country with which, by some strange chance, he did not make himself familiar, though he had visited and learned to know well at least parts of all the other Celtic countries. It is to my mind, however, if not so definitely of a wholeness of texture as "Pharais" or "The Mountain Lovers," or so singular, less monotonous than either. All three of these stories disappoint my memory of them when I again read them. This is, I believe, because all three of them--and for that matter many of the short stories as well--are incompletely realized, or because--in the case of two of them, "The Mountain Lovers" and "Green Fire"--they are unevenly written. Their high intention and atmosphere remain with you after you have put the books aside, and in the course of time you forget their hurried writing, their inconsistencies, and their qualities of the "s.h.i.+lling Shocker," the result of their author's failure to attain "the tempestuous loveliness of terror" that are in so many of them, long or short. As aids to this effacement of the cheapening elements are the very materials of the tales, their characters, now elemental, now other-worldly, and their background of mountains that uplift the spirit, and of menacing sea.

That Sharp wrote less exactly of the present-day people of the Highlands than of the background of their lives was largely because he had few opportunities to learn to know them intimately. There was a basis for such intimacy laid in his childhood, in the fact that his nurse was a Highland woman; there was something built on this basis by his boyhood's vacations in many parts of Argylls.h.i.+re and voyages elsewhere along the west coast. Youth spent in Arran and Skye would have counted for much more, for the boy, once he is no longer child and before he has reached his youth and is awakening man, is not much more interested in people in real life for what they are than he is in minute description of their characters in books. He likes men for the sportsmanlike and adventurous things they can do, and he likes to read records of things sportsmanlike and adventurous, but men as men, unless they are eccentric to grotesqueness, do not arrest his attention. Even the dreamy boys, the artistic boys, are not likely to learn much of others, so preoccupied are they with themselves.

It was thus, I think, that Sharp's childhood was not what he would in later years have had it, not what in "The Laughter of Peterkin" he alleges the childhood of "Fiona Macleod" to have been. For all the influence of "Barabal," his nurse, it seems from his writing that her stories remain with him more as suggestions to imagination than as definite memories, and that the fisherman referred to in "Sheumas" left with him little more than "Barabal." How fresh and wonderful to him was actual contact with Highland life is almost pathetically revealed in a letter he wrote to Mrs. Sharp from Kilcreggan in the summer of 1894. In this letter he is all but exultant in the recording of the securing of "Celtic" material from a "Celtic Islesman from Iona." Of the actual life of the Islesmen and Glensmen he could have known but little, for long living among them is necessary to their understanding,--they are, as he wrote in this same letter, "pa.s.sionately reticent." It was not the way of Sharp to fall back, in this deficiency of experience, on old legends and folk-tales collected in his own day, but to trust to his imagination as that was quickened by what knowledge he had of life in the inner isles and in Argylls.h.i.+re, and by the very atmosphere of known places there that seemed to demand, as Stevenson put it, to have stories invented to fit them.

It is said, too,--Mrs. Sharp gives her authority to the story,--that friends.h.i.+p with the woman to whom he dedicated "Pharais," "E.W.R.,"

stimulated him to the work. "Because of her beauty, her strong sense of life, and of her joy of life," writes Mrs. Sharp in her memoir of her husband, "because of her keen intuitions and mental alertness, her personality stood for him as a symbol of the heroic women of Greek and Celtic days, a symbol that, as he expressed it, unlocked new doors in his mind and put him in touch with the ancestral memories of his race."

And Mrs. Sharp quotes him further as declaring "without her there would have been no 'Fiona Macleod.'" Perhaps; but I doubt if, after the Celtic Renaissance had won a hearing, anything could have prevented Sharp from following what was, after all, a natural bent. I am not going to argue the matter out, but he himself admitted that his development as "Fiona Macleod" began "while I was still a child," and there is proof in almost every volume he published, even before he knew Mrs. Rinder ("E.W.R.,"

must of course be the author of "The Shadow of Arvor"), that his tendency was toward what became characteristic of "Fiona Macleod."

It was the love that Sharp had for all sorts of "psychic things," the mysterious, the unaccountable, the hidden, that led him to believe that "without her there would have been no 'Fiona Macleod.'" Sharp himself, when his "other self," with sense of humor alert, was more than willing to admit that it is easy to believe what one wishes to believe; and he delighted to tell a story at the expense of Mr. Yeats ill.u.s.trative of the trite fact. Sharp went one day, in London, to call on Mr. Yeats.

When lunch-time came, they set about cooking eggs. Mr. Yeats held them in a frying-pan over the little fire in the grate. As they slipped about, Mr. Yeats, all the while looking back in the room away from the fire as he talked to Sharp, allowed the pan to tip too far and the eggs fell out into the fire. So absorbed was he in the topic of conversation, most appropriately the disappearance of material things, that he did not notice the catastrophe or the quick disappearance of the eggs among the coals. When his perfervidness subsided for a moment, he turned to see if they were done. "There, what did I tell you!" said he; "our talk of these things has conjured up the powers and the eggs are gone." Sharp did not tell him of the accident. And there were no more eggs in the room to have for lunch.

One of the reasons that led William Sharp to write "Silence Farm" (1899) was to have something under his own name that might be very different from the stories of "Fiona Macleod." And "Silence Farm" is very different, a story without the distinguis.h.i.+ng qualities of "Pharais" or "The Divine Adventure," and suggesting kins.h.i.+p to the work of his other self only through certain likenesses of domestic irregularity in the family of Archibald Ruthven to other domestic irregularity in the family of Torcall Cameron of "The Mountain Lovers." Though not of so original a kind, perhaps, as the best of the "Fiona Macleod" work, "Silence Farm"

has to it a "wholeness of good tissue" that belongs to little work of this most uneven writer. "Silence Farm," I would emphasize again as I emphasized at the opening of this paper, is better written, both as regards style and architectonic quality, and it is a truer reading of life, than any of the Highland stories. Though it is a story of to-day, and about a life much like that made familiar by the writers of the Kailyard school, it is not to them, but to such kindred unsentimentalized work as Mr. Shan Bullock's, that you instinctively compare it. The people, indeed, are the same dour Presbyterians, though the one writes of Scotland and the other of the North of Ireland. And as you compare the material of "Silence Farm" with that of "The Squireen,"

for instance, you note, too, that the art of both is the art of Mr.

Hardy.

There is little modern writing with which to compare the Highland stories of Sharp. It is not that the Highlands have not been much written about, but that they have been written about intimately by but few. No part of the world so out of the world as their outlying islands, the Hebrides, has been so bewritten by travelers from Martin's time to our own; but comparatively few have known either islands or mainland well enough to dare novels of their life, and of those who have so dared no one up to the time of Sharp had written a great realistic story of the Highlands, and but one or two great romances. Now we have Mr. Neil Munro, like Sharp a very uneven writer, whose "Children of Tempest"--to take one of his best stories--now delights and now tortures you; and yesterday we had William Black, famous for sunsets. Black knew the Hebrides well, very well for a Lowlandman turned Londoner, and he labored hard to make his books true and beautiful. Unfortunately it was not in him to do fine work, not even the best sort of the second order of novelists,--such work as Trollope's, for instance, which by dint of faithfulness and humanity almost persuades you now and then that it is of higher than second order. Black was faithful to what he saw and broadly sympathetic, but his writing not only lacks distinction, but, even at its best, as in "The Princess of Thule," home thrust to one's interest. Yet, such as it is, it is all but all that we have which attempts to put before us any broad view of Highland life. The one man of the generation older than the generation of Mr. Sharp who might have drawn Highland life greatly, Robert Buchanan, was diverted all his life, as Sharp was in the twenties and thirties, from doing what he would to what would boil the pot, but he left at least one story, a story of Sutherland, "A Child of Nature," to prove to us what his reading of Highland life might have been. Had Stevenson been born a Highlander, he might have given us both novels of the Highlands of the order of "Weir of Hermiston," and romances really Highland in quality, as "Kidnapped"

and "Catriona" are not.

I suppose that, back of all the failure to deal realistically with Highland life, this rare attainment of a romance of Highland life at all faithful to it, is the making of the Highlander into a stage hero by Scott. There are those to-day who fail to find any glamour in "Waverley"

or "Rob Roy" or "The Legend of Montrose," but it is still there to me, investing the figures of Fergus MacIvor and the MacGregor and the Children of the Mist as it did in childhood, when I was so fascinated that I prized my Campbell plaided paper soldiers next to my Continentals in blue and buff. In going through an old trunkful of school-books only the other day, I came upon one of these bonneted fellows, still wonderfully preserved, in an old atlas of the heavens, and then I knew all of a flash why it was that the poor boy soldiers that I saw in Highland accoutrement in the yard of Edinburgh Castle during the Boer War so disappointed me by their appearance and bearing. They were not half so brave as the piper who used to make the rounds of my boyhood's town and bring tears to my eyes with his "Campbells are Comin'." I write this that my quarrel with much of what Sharp has written of the Highlands, that portion that seems to me sentimentalized or one-sided, may not be put down to lack of appreciation of the romance, the eeriness, and otherworldliness that there unquestionably are in that life.

It is their aloofness from the everyday story, their unusual use of the supernatural that has given the longer stories written out of the "Fiona mood," as Mr. Sharp once spoke of his possession, their appeal to most readers, but there is here in America a cla.s.s who put the highest valuation on the shorter stories Mr. Sharp called "spiritual tales." To those who hold this view "The Divine Adventure" is of the nature of revelation. To me it is hardly this, but very interesting, not so much for its putting of the relations of Body, Will, and Spirit to one another in life and at death, as for its beautiful writing, and for its definite betrayal, when its author is writing most intimately, of a man's att.i.tude, though he published the story as the work of "Fiona Macleod." These "spiritual tales" do not belong, all of them, to his "Fiona Macleod" period, for "Vistas" (1894) contains many of them, though they are cast here in dialogue form, and there are others among the work published under his own name. In fact, the writing under the two names never becomes liker in quality and intention than when it is "spiritual." The sketch from Part II of "The Dominion of Dreams" (1899), ent.i.tled "The Book of the Opal," for instance, is written on the very key of "Fragments of the Lost Journals of Piero di Cosimo" (1896), far apart their subject material, and "The Hill-Wind" by "W.S." dedicated as it is to "F.M.," might well be a rejected pa.s.sage from "The Mountain Lovers." There is the color of the Highlands and Islands about many of these mystical stories, about "The Hill-Wind," by "W.S." and "The Wind, the Shadow, and the Soul," the epilogue "F.M." wrote to the "Dominion of Dreams"; but most of these shorter mystical tales have not the tang and savor of farm-home on lonely moors, or fisher's hut on the lonelier machar, that is characteristic of most of the tales long and short, that deal with modern days.

Nor are the meanings of these "spiritual tales" consistently indicated in symbols taken from Scottish life, nor is their supernaturalism native to it. Mrs. Spoer (Ada Goodrich-Freer), in her "Outer Isles" (1902), tells us "The Celtic Gloom" amuses the Hebridean. If so, what effect would such discussion as that of "The Lynn of Dreams" and "Maya" have upon him? But if such essays are not written out of Highland life, they are none the less interesting, and in the case of "Maya," with its consideration of waking dream, beautiful as art, and valuable, too, as a contribution to science.

So far does Sharp go in his belief as to the apprehension of thought through powers other than those of the senses, that in "The Winged Destiny" he can look forward to a time "when the imagination shall lay aside words and pigments and clay, as raiment needless during the festivals of the spirit, and express itself in the thoughts which inhabit words--as light inhabits water or as greenness inhabits gra.s.s."

Not only does he foresee such a time, but he foreshadows it, heralds it in some of his sketches, "Aileen" for one, by attempting it. Perhaps he has succeeded, perhaps not. To me the attempt is a failure, not, I think, because he is writing for to-morrow, for that age when the spiritual awakening he so often prophesied shall have come, but because he is attempting what cannot be done in any age. If he were seeking only suggestion, well and good. But he seeks more, and fails, I think, to attain more. It seems to me impossible that the suggestions he creates can ever be more than suggestions. They cannot become definite concepts that will mean the same thing to all men. Suggestion, the opening-up of vistas, is a high attribute of the art he follows; but he is not content with suggestion, he would seek more definite expression of what, after all, is not thought but mood. So it is that he is most successful when conveying mood and less successful when conveying esoteric thought. As a critic, of course, on a plane easier for the conveyance of thought, Sharp is definite enough, completely successful in conveying the ideas that he intends to convey.