I am not so sure that the tone of these old myths is always distinctively Celtic, as it is undoubtedly in "The Annir Choile," and in other "Seanchas" that reveal him at his best. There was viking blood in Sharp, and it comes out, I think, in such tales as "The Song of the Sword." How he came to write these barbaric tales I do not know, though I have sometimes thought that the "Dhoya" (1891) of Mr. Yeats may have suggested them, as the Hanrahan stories may have suggested certain of the more modern tales. But whatever their genesis, the heroes and heroines of the "Seanchas" seem to him like the heroes and heroines of Homer and the Greek tragedians; and his friend whom he thought inspired him to much of the "F. M." work stood, we must remember, as symbolical to him of the women of Greek as well as of Celtic legend.
There are many indications, in his last writing, not only in that unpublished book on "Greek Backgrounds" and in his articles in the magazines on Sicily, all by William Sharp, but in the "Fiona Macleod" work, that he would have come to write of Greek antiquity with an enthusiasm very like that with which he wrote of Gaelic antiquity. "W. S." is speaking with the voice of "F. M." when he says in a letter to Mrs. Sharp, dated Athens, January 29, 1904: "It is a marvelous homecoming feeling I have here. And I know a strange stirring, a kind of spiritual rebirth."
One reason, perhaps, that the best work of Sharp has come out of his consideration of the Celts of antiquity is that the stark stories he has to tell of them restrain his
