Page:Irish plays and playwrights (IA irishplaysplaywr00weygrich).pdf/292

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 analytical 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 analysis 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.