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Nicholas Grene explores Yeats's poetic codes of practice, the key words and habits of speech that shape the reading experience of his poetry. Where previous studies have sought to decode his work, expounding its symbolic meanings by references to Yeats's occult beliefs, philosophical ideas or political ideology, the focus here is on his poetic technique, its typical forms and their implications for the understanding of the poems. Grene is concerned with the distinctive stylistic signatures of the Collected Poems: the use of dates and place names within individual poems; the handling of demonstratives and of grammatical tense and mood; certain nodal Yeatsian words ('dream', 'bitter', 'sweet') and images (birds and beasts); dialogue and monologue as the voices of his dramatic lyrics. The aim throughout is to illustrate the shifting and unstable movement between lived reality and transcendental thought in Yeats, the embodied quality of his poetry between a phenomenal world of sight and an imagined world of vision.
This brand new collection, impeccably edited by James Pethica, presents a comprehensive selection of Yeats's major contributions in poetry, drama, prose fiction, autobiography, and criticism.
Man has created death, wrote Yeats, and in this book Jahan Ramazani argues that the effort to create and recreate death is the major impulse of Yeats' poetry. According to Ramazani, death was Yeats' muse, and his best poems are his vexed meditations on loss, ruin, and oblivion. Ramazanu reviews Yeats' elegies, his self-elegies, and his poems in the sublime mode, as well as his work in such related modes as love lyric and prophecy, carpe diem and the curse. Balancing genre criticism with close revisionist readings of individual poems, he traces interrelations between the lyrics and the traditions that inspired them.
In this multi-volume edition, the poetry of W.B. Yeats (1865–1939) is presented in full, with newly-established texts and detailed, wide-ranging commentary. Yeats began to write verse in the nineteenth century, and over time his own arrangements of poems repeatedly revised and rearranged both texts and canon. This edition of Yeats’s poetry presents all his verse, both published and unpublished, including a generous selection of textual variants from the many manuscript and printed sources. The edition also supplies the most extensive commentary on Yeats’s poetry to date, explaining specific references, and setting poems in their contexts; it also gives an account of the vast range of both literary and historical influences at work on the verse. The poems are presented in order of composition, and major revisions or rewritings of poems result in separate inclusions (in chronological sequence) for these writings as they were subsequently reconceived by the poet. This first volume collects Yeats’s poetry of the 1880s, from his ambitious and extensive juvenilia (including hitherto little-noticed dramatic poems) to his earliest published pieces, leading to his first substantial book of verse. The pastoral romance of classically-inflected early work like ‘The Island of Statues’ is succeeded in these years by the Irish mythic material that finds its largest canvas in the mini-epic ‘The Wanderings of Oisin’. In Yeats’s work through the 1880s, an adolescent poet’s youthful absorption in Romantic poetry is replaced by a commitment to esoteric religious speculation and Irish political nationalism. This edition allows readers to see Yeats’s emergence as a poet step by step in compelling detail in relation to his literary influences – including, significantly, the Anglo-Irish poetry of the nineteenth century. The commentary provides an extensive view of Yeats’s developing personal, cultural, and historical worlds as the poems gain in maturity and depth. From the first attempts at verse of a teenage boy to the fully accomplished writings of an original poet standing on the verge of popular success with poems such as ‘The Lake Isle of Innisfree’, Yeats’s poetry is displayed here in unprecedented fullness and detail.
In the opinion of many critics, Yeats is the greatest poet of the twentieth century. He is without question the greatest Irish poet. His work has influenced all who have come after him both in Ireland and throughout the English speaking world. In this beautifully designed and produced gift book, we get a selection of about sixty of Yeats's best loved poems complemented by the paintings from Irish artists, usually artists who were contemporaries of the poet.
“A true classic of world literature . . . A masterpiece that has inspired generations of writers in Nigeria, across Africa, and around the world.” —Barack Obama “African literature is incomplete and unthinkable without the works of Chinua Achebe.” —Toni Morrison Nominated as one of America’s best-loved novels by PBS’s The Great American Read Things Fall Apart is the first of three novels in Chinua Achebe's critically acclaimed African Trilogy. It is a classic narrative about Africa's cataclysmic encounter with Europe as it establishes a colonial presence on the continent. Told through the fictional experiences of Okonkwo, a wealthy and fearless Igbo warrior of Umuofia in the late 1800s, Things Fall Apart explores one man's futile resistance to the devaluing of his Igbo traditions by British political andreligious forces and his despair as his community capitulates to the powerful new order. With more than 20 million copies sold and translated into fifty-seven languages, Things Fall Apart provides one of the most illuminating and permanent monuments to African experience. Achebe does not only capture life in a pre-colonial African village, he conveys the tragedy of the loss of that world while broadening our understanding of our contemporary realities.
A new approach to Yeats's poems, concentrating on the reading experience itself. By picking out the distinctive 'codes' of Yeats's poetic practice, such as his use of dates and place names, characteristic vocabulary, and stylistic preferences, Grene's study will send readers back to the work with a new sense of understanding and enjoyment.
This is the first dictionary to identify, chart, and explain in context the many proper names and place names that so famously enrich the poetry of William Butler Yeats and, just as famously, anchor that poetry to Ireland. In compiling this work, Lester I. Conner has relied upon Yeats's own prose, the principal Yeats criticism, and the writings of Yeats's friends and critics. The result is a work that warmly ushers us into the poems, where we find we are not strangers after all.
The Collected Works of W. B. Yeats, Volume XIII: A Vision is part of a fourteen-volume series under the general editorship of eminent Yeats scholar George Bornstein and formerly the late Richard J. Finneran and George Mills Harper. One of the strangest works of literary modernism, A Vision is Yeats's greatest occult work. Edited by Yeats scholars Catherine E. Paul and Margaret Mills Harper, the volume presents the "system" of philosophy, psychology, history, and the life of the soul that Yeats and his wife George (née Hyde Lees) received and created by means of mediumistic experiments from 1917 through the early 1920s. Yeats obsessively revised the book, and the revised 1937 version is much more widely available than its predecessor. The original 1925 version of A Vision, poetic, unpolished, masked in fiction, and close to the excitement of the automatic writing that the Yeatses believed to be its supernatural origin, is presented here in a scholarly edition for the first time. The text, minimally corrected to retain the sense of the original, is extensively annotated, with particular attention paid to the relationship between the published book and its complex genetic materials. Indispensable to an understanding of the poet's late work and entrancing on its own merit, A Vision aims to be, all at once, a work of theoretical history, an esoteric philosophy, an aesthetic symbology, a psychological schema, and a sacred book. It is as difficult as it is essential reading for any student of Yeats.