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“The book helps fill in the picture of a complex and fascinating man...indispensable for the serious study of the subject.”—Edmund Wilson, The New Yorker The most influential poet of his age, Yeats eluded the grasp of many who sought to explain him. In this classic critical examination of the poet, Richard Ellmann strips away the masks of his subject: occultist, senator of the Irish Free State, libidinous old man, and Nobel Prize winner.
Gore Vidal, known for such best-sellers as The City and the Pillar, Burr, Lincoln, and Myra Breckinridge, is a household name. The controversial Vidal ran for Congress in 1960, and set sparks flying with his public debates challenging William F. Buckley and Norman Mailer. Although one of America's most admired and prolific writers, Vidal has been steadfastly ignored or impugned by many critics. This is partly owing to the vast scope of his writings, which include more than twenty novels, half a dozen plays, dozens of screenplays, countless essays and book reviews, political commentary, and short stories; how do the critics approach such a writer? There has also been backlash against Vidal, whose radical polemics and undisguised contempt for those whom he has called "the hacks and hicks of academe" have hardly endeared him to the critical establishment. Gore Vidal: Writer Against the Grain is the first collection of critical essays to approach this important American writer in an attempt to rectify the unwarranted underestimation of his work. Jay Parini has drawn from the best of previously published criticism and commissioned fresh articles by leading contemporary critics to construct a comprehensive portrait of Vidal's multifaceted and memorable career. Writers as diverse as Harold Bloom, Stephen Spender, Catharine R. Stimpson, Richard Poirier, and Italo Calvino examine Vidal's work in their own highly individual ways, and each finds a different Vidal to celebrate, chide, recollect, or view close up. Also included is a recent interview with Parini in which Vidal discusses his career and his troubled relationship with the reviewers.The Vidal that finally emerges from these essays is a writer of undeniable weight and importance. As readers will agree, Gore Vidal: Writer Against the Grain establishes his rightful role as one of the premier novelists and leading critical observers of this century.
According to Yeats, his wife surprised him on 24 October 1917, four days after their marriage, “by attempting automatic writing.” Excited, he offered to spend the remainder of his life organizing and explaining the “scattered sentences.” Over a period of approximately 30 months they collaborated in 450 sittings, he asking questions, she responding to fill a total of more than 3,600 pages. Quoting copiously from the Script, Harper has traced in two volumes these incredible experiments day by day as the Yeatses moved about England, Ireland, and America. He has also cited hundreds of parallel explanatory passages from many workbooks, notebooks, and the concordance arranged like a card index in which Yeats codified the System he projected in A Vision and numerous poems and plays. Harper also has examined the extensive personal revelations that were excluded from A Vision and carefully concealed in many passages of “personal Script.” As Professor Harper demonstrates, Yeats had these often oblique, highly allusive passages in mind when he admitted “To Vestigia” that he had “not even dealt with the whole of my subject, perhaps not even with what is most important, writing nothing about the Beatific Vision, little of sexual love.”
Yeats’s Mask, Yeats Annual No. 19 is a special issue in this renowned research-level series. Fashionable in the age of Wilde, the Mask changes shape until it emerges as Mask in the system of A Vision. Chronologically tracing the concept through Yeats’s plays and those poems written as ‘texts for exposition’ of his occult thought which flowers in A Vision itself (1925 and 1937), the volume also spotlights ‘The Mask before The Mask’ numerous plays including Cathleen Ni-Houlihan, The King’s Threshold, Calvary, The Words upon the Window-pane, A Full Moon in March and The Death of Cuchulain. There are excurses into studies of Yeats’s friendship with the Oxford don and cleric, William Force Stead, his radio broadcasts, the Chinese contexts for his writing of ‘Lapis Lazuli’. His self-renewal after The Oxford Book of Modern Verse, and the key occult epistolary exchange ‘Leo Africanus’, edited from MSS by Steve L. Adams and George Mills Harper, is republished from the elusive Yeats Annual No. 1 (1982). The essays are by David Bradshaw, Michael Cade-Stewart, Aisling Carlin, Warwick Gould, Margaret Mills Harper, Pierre Longuenesse, Jerusha McCormack, Neil Mann, Emilie Morin, Elizabeth Müller and Alexandra Poulain, with shorter notes by Philip Bishop and Colin Smythe considering Yeats’s quatrain upon remaking himself and the pirate editions of The Land of Heart’s Desire. Ten reviews focus on various volumes of the Cornell Yeats MSS Series, his correspondence with George Yeats, and numerous critical studies. Yeats Annual is published by Open Book Publishers in association with the Institute of English Studies, University of London.
William Butler Yeats (1865-1939) was an Irish poet and one of the foremost figures of 20th century literature. A pillar of both the Irish and British literary establishments, he helped to found the Abbey Theatre, and in his later years served as an Irish Senator for two terms. Awarded the Nobel Prize in Literature in 1923, Yeats—along with Lady Gregory, Edward Martyn and others—was a driving force behind the Irish Literary Revival. “This study is a sequel to my W. B. Yeats And Tradition, and the Yeats scholar may like to take all my work in conjunction; but I have tried to make it possible for the two books to be read independently. “The aim of this book is to interpret what Yeats meant by the symbolism of five of his plays, Four Plays for Dancers and The Cat and the Moon; also by that of a number of related lyrics. I should stress, once and for all, that I am concerned primarily with what the symbols meant for the poet himself; Yeats of course hoped that the ‘words on the page’ would work for him, and he also believed in a collective unconscious which would operate to suggest his archetypal meanings to all readers; but it can of course be maintained that communication fails. I myself doubt whether this ever happens; but I cannot prove this statement in a book not concerned with technique; and this is why I define my field as I have done. What Yeats believed his plays and poems to mean is a valid field for scholarship; and the meaning he attached is certainly the archetypal meaning, which is therefore my main preoccupation.”—F. A. C. Wilson