other of his projected plays, "The Enchanted Valleys," "The King of Ys," "Drosdan and Yssul," and their many fellows he had projected by title, 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 noble 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 relinquishings 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 crit-
