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This book is the first to make extensive use of unpublished manuscripts to show how a period of English literature affected W.B.Yeats's development as a poet. Besides presenting a factual account of his acquaintance with English Renaissance writers based on evidence from his library and elsewhere, the study examines his response to numerous minor figures and several major ones - including Spenser, Jonson, Shakespeare, Donne and Milton.
W. B. Yeats and Fernando Pessoa (1888-1935) regarded style as a tool for metaphysical inquiry and, consequently, they adopted distinct poetic styles to convey different attitudes towards experience. Silva-McNeill's study examines how the poets' stylistic diversification was a means of rehearsing different existential and aesthetic stances. It identifies parallels between their styles from a comparative case studies approach. Their stylistic masks allowed them to maintain the subjectivity and authenticity associated with the lyrical genre, while simultaneously attaining greater objectivity and conveying multiple perspectives. The poets continuously transformed the fond and form of their verse, creating a protean lyrical voice that expressed their multilateral poetic temperament and reflected the depersonalisation and formal experimentalism of the modern lyric.
Beautiful early writings by one of the 20th century’s greatest poets on the 150th anniversary of his birth A Penguin Classic The poems, prose, and drama gathered in When You Are Old present a fresh portrait of the Nobel Prize–winning writer as a younger man: the 1890s aesthete who dressed as a dandy, collected Irish folklore, dabbled in magic, and wrote heartrending poems for his beloved, the beautiful, elusive Irish revolutionary Maud Gonne. Included here are such celebrated, lyrical poems as “The Lake Isle of Innisfree” and “He Wishes for the Cloths of Heaven,” as well as Yeats’s imaginative retellings of Irish fairytales—including his first major poem, “The Wanderings of Oisin,” based on a Celtic fable—and his critical writings, which offer a fascinating window onto his artistic theories. Through these enchanting works, readers will encounter Yeats as the mystical, lovelorn bard and Irish nationalist popular during his own lifetime. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
A comprehensive and accessible introduction to the major themes of this important poet's life and career.
Yeats, Shakespeare, and Irish Cultural Nationalism examines Yeats’s writing on Shakespeare in the context of his work on behalf of the Irish Literary Revival. While Shakespeare’s verse drama provides a source of inspiration for Yeats’s poetry and plays, Yeats also writes about Shakespeare in essays and articles promoting the ideals of the Revival, and on behalf of Irish literary nationalism. These prose pieces reveal Yeats thinking about Shakespeare’s art and times throughout his career, and taken together they offer a new perspective on the contours of Yeats’s cultural politics. This book identifies three stages of Yeats’s cultural nationalism, each of which appropriates England’s national poet in an idiosyncratic manner, while reflecting contemporary trends in Shakespeare reception. Thus Yeats’s fin-de-siécle Shakespeare is a symbolist poet and folk-artist whose pre-modern sensibility detaches him from contemporary English culture and aligns him with the inhabitants of Ireland’s rural margins. Next, in the opening decade of the twentieth century, following his visit to Stratford to see the Benson history cycle, Yeats’s work for the Irish National Theatre adopts an avant-garde, occultist stagecraft to develop an Irish dramatic repertoire capable of unifying its audience in a shared sense of nationhood. Yeats writes frequently about Shakespeare during this period, locating on the Elizabethan stage the kind of transformational emotional affect he sought to recover in the Abbey Theatre. Finally, as Ireland moves towards political independence, Yeats turns again to Shakespeare to register his disappointment with the social and cultural direction of the nascent Irish state. In each case, Yeats’s thinking about Shakespeare responds to the remarkable conflation of aesthetic and religious philosophies constituting his cultural nationalism, thus making a unique case of Shakespearean reception. Taken together, Yeats’s writings deracinate Shakespeare, and so contribute significantly to the process by which Shakespeare has come to be seen as a global artist, rather than a specifically English possession.
After the Heavenly Tune offers an expansive answer to the basic question central to the history of poetry and poetics: what do poets mean when they write "I sing?" Berley's chapters on Shakespeare and Milton unfold the remarkable development of these two "speculative musical poetics" who are central to the history of English poetry. And in his last two chapters on romanticism and modernism, he draws an intriguing line from Wordsworth to Stevens, in which the aspiration to song becomes a dazzling means of exploring, scrutinizing, and redefining the burdens and achievements--poetic, philosophical, social, and personal--for individual poets in their times. After the Heavenly Tune offers not only groundbreaking studies of The Merchant of Venice and Milton's theory of prophecy, but also compelling new readings of classical and medieval literary theory, the burdens of romanticism, and the resolutions of modernism. This work will appeal to a broad audience: Renaissance, classical, and romantic literary scholars; philosophers; musicologists; theologians; and general readers interested in English poetry and Literary Studies.
This edition makes available the complete poetic works of a major Irish poet whose writings were influential at the turn of the twentieth century.
"Transatlantic poetics" is the principal theme and the constructive burden of these essays. The motive toward its articulation lies in the demand for cross-national, international, and post-nationalist comprehension of cultural relations and critical practices across modern Anglophone British, Irish, and North American literary developments, literary filiations, and literary history. Anglophone literary study needs to articulate ever more clearly the poetics of literary practices, including the cultural politics of literary histories and literary reading. Ireland is a small island, yet its finest writers have insistently articulated its modern culture within a transatlantic neighborhood stretching from continental Europe across the British and Irish archipelago to the western reaches of North America. Modern Dublin is a cultural location for constructing transatlantic literary relations and poetics. This collection foregrounds modern Dublin, its writers, its universities, its literary journals, its teachers, and critics of English Studies, as well as the contested critical construction of regional and international poetics and cultural politics that emerges from the often tense interaction of local and global literary practices and critical desires.
In this study of Yeats' poetry between 1902 and 1916, Greaves strongly reacts to the tendency in literary criticism to categorize Yeats' work as 'modernist', Instead, Greaves offer a different way of looking at the transition in Yeats' work in this period, by examining the poems in the context of Yeats' life. As a result, the figure of Yeats the poet is resurrected from the exhaustive category of 'modernism' and the complex connections between the figure of Yeats within the poems and its relationship with the Yeats who exists outside them is revealed.
As both a late Romantic and a modern, W.B. Yeats has proved to be perhaps the most influential poet of the early twentieth-century. In this original study Steven Matthews traces, through close readings of significant poems, the flow of Yeatsian influence across time and cultural space. By engaging with the formalist criticism of Harold Bloom and Paul de Man in their dialogues with Jacques Derrida, he also considers Yeats's significance as the founding presence within the major poetry criticism of the century.