YEATS ANNUAL No. 11 "Red Hanrahan's Vision", Monochrome Wash Drawing by Jack B

Home , Florence Farr

YEATS ANNUAL No. 11 "Red Hanrahan's Vision", monochrome wash drawing by Jack B. Yeats, n.d. [1896], possibly intended as an illustration for "The Vision of Hanrahan the Red" in The Secret Rose ( 1897). Photograph courtesy Sligo County Library and Museum. YEATS ANNUAL No. 11

Edited by Warwick Gould Editorial matter and selection ©Warwick Gould 1995 Text© Macmillan Press Ltd 1995 Softcover reprint of the hardcover 1st edition 1995 978-0-333-53637-7 All rights rese1ved. No r·eproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written pnmission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Totten ham Court Road, London WIP 9HE. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.

First published in Great Britain 1995 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives thmughout the world

This book is published in Macmillan's Yeuts Anntwlr series

A ca1alogue recm·d for this book is available from the British Library.

ISBN 978-1-349-23759-3 ISBN 978-1-349-23757-9 (eBook) DOI 10.1007/978-1-349-23757-9 ISSN 0278-7688

Transferred to digital printing 1998 02/780

First published in the United States of America 199.5 by Scholarly and Reference Division, ST. MARTIN'S PRESS, INC., 17.5 Fifth Avenue, New York, N.Y. 10010 ISBN 978-0-312-12184-6 ISSN 0278-7688 Contents

List of Abbreviations viii Editorial Board xiii Notes on the Contributors xiv List of Plates xviii Editor's Introduction xix Acknowledgements xxiii

ARTICLES Yeats's "Written Speech": Writing, Hearing and Performance 3 MICHAEL J. SIDNELL

Yeats and Ottava Rima 26 HELEN VENDLER

Chaucer, Yeats and the Living Voice 45 STEVE ELLIS

Yeats and Mohini Chatterjee 61 P. S. SRI

Jack B. Yeats's Illustrations for his Brother 77 HILARY PYLE

Voices of the Past: Jack Yeats and Thomas MacGreevy in Conversation 87 JOHN PURSER

The "Countless Cathleen Row" of 1899 and the Revisions of 1901 and 1911 105 WAYNE K. CHAPMAN

v vi Contents

"Take Down This Book": The Flame of the Spirit, Text and Context 124 WARWICK GOULD AND DEIRDRE TOOMEY

"MASTERING WHAT IS MOST ABSTRACT": A FORUM ON A VISION "What Empty Eyeballs Knew": Zen Buddhism in "The Statues" and the Principles of A Vision 141 MATTHEW GIBSON

Yeats's "Vision" Papers: First Impressions 157 COLIN MCDOWELL

SHORTER NOTES Thomas Parkinson ( 1920-92) 173 MORTON D. PALEY

"Paracelsus in Excelsis" 176 WARWICK GOULD

Three Speculations 185 A. NORMAN JEFFARES

Francis Hackett's "Monuments": A Yeats Letter in the Royal Library, Copenhagen 196 LISPIHL

Singular Pluralities: Titles of Yeats's Autobiographies 205 WARWICK GOULD

REVIEWS Great Silences: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings and Jack B. Yeats: His Watercolours, Drawings and Pastels 221 DEIRDRE TOOMEY Contents vii

Warwick Gould, Phillip L. Marcus and Michael J. Sidnell (eds), The Secret Rose, Stories by W. B. Yeats: A Variorum Edition (second edition, revised and enlarged) 226 WILLIAM H. O'DONNELL

Journey without Maps: W. B. Yeats, john Sherman & Dhoya, with a Preface by W. J. McCormack and an Afterword by Eve Patten; john Sherman AND Dhoya ( CEW XII), ed. Richard J. Finneran 228 WARWICK GOULD

Just Another Donkey: W. B. Yeats, The Herne's Egg, ed. Andrew Parkin 244 ALISON ARMSTRONG

"Why Can't They All Write Seamus Heaney?": Marjorie Perloff, Poetic License: Essays on Modernist and Postmodernist Lyric and Radical Artifice: Writing Poetry in the Age of the Media 252 ROBERT HAMPSON

Michael North, The Political Aesthetic of Yeats, Eliot, and Pound 258 RICHARD GREAVES

Cheryl Herr (ed.), For the Land They Loved: Irish Political Melodramas 1890-1925; Stephen Watt, Joyce, O'Casey and the Irish Popular Theatre 262 VERONICA KELLY

Otto Rauchbauer (ed.), Ancestral Voices: The Big House in Anglo-Irish Literature 269 COLLEEN MCKENNA

Catherine Phillips, Robert Bridges, A Biography 274 MARJORIE PERLOFF

Thomas H. Meyer, D. N. Dunlop: A Man of our Time; Johannes Tautz, Walter johannes Stein: A Biography 280 ALAN DENSON

PUBLICATIONS RECEIVED 283 List of Abbreviations

The standard works listed below are cited in this volume by standard abbreviations, including volume number (where appropriate), and page number. Volumes in The Collected Edition of the Works of W. B. Yeats ( CEW), edited by Richard J. Finneran and George Mills Harper, are cited by abbreviations of their individual titles. Manuscripts are cited using abbreviations for the main collections, listed below. Second or later citations of other works frequently referred to are usually by abbreviation or acronym as explained in the note accompanying the first citation in a particular essay.

Au Autobiographies (London: Macmillan, 1955). AVA A Vision: An Explanation of Life Founded upon the Writings of Giraldus and upon certain Doctrines at tributed to Kusta Ben Luka (London: privately printed for subscribers only, T. Werner Laurie, Ltd, 1925). See also CV A. AVB A Vision (London: Macmillan, 1962). B.L. Add. MS (followed by number), Additional Manuscript, The British Library, London. CH W. B. Yeats: The Critical Heritage, ed. A. Norman Jeffares (London, Henley and Boston, Mass.: Routledge & Kegan Paul, 1977). CL1 The Collected Letters of W. B. Yeats, vol. 1: 1865- 1895, ed. John Kelly and Eric Domville (Oxford: Clarendon Press, 1986). CM W. B. Yeats: A Census of the Manuscripts, by Conrad A. Balliet with the assistance of Christine Mawhinney (New York and London: Garland Publishing, 1990). CVA A Critical Edition of Yeats's A Vision (1925), ed. George Mills Harper and Walter Kelly Hood (Lon don: Macmillan, 1978).

viii List of Abbreviations ix

E&I Essays and Introductions (London and New York: Macmillan, 1961). Emory MS Manuscript, The Robert W. Woodruff Library, Emory University, Atlanta, Ga. Emory also used for the location of special copies of books. Ex Explorations, sel. Mrs W. B. Yeats (London: Macmillan, 1962; New York: Macmillan, 1963). GYL The Gonne-Yeats Letters 1893-1938: Always Your Friend, ed. Anna MacBride White and A. Nor man Jeffares (London: Hutchinson, 1992). HRHRCMS Manuscript, Harry Ransom Humanities Research Center, University of Texas at Austin. HRHRC also used for the location of special copies of books. I&R W. B. Yeats Interviews and Recollections, ed. E. H. Mikhail, 2 vols (London: Macmillan, 1977). 1 W. B. Yeats: A Classified Bibliography of Cri~icism, 2nd edn, revised and enlarged, by K. P. S. jiJchum (Urbana and Chicago: University of Illinois Press, 1990), to be followed by item number (or page number preceded by "p."). JS&D john Sherman AND Dhoya ( CEW XII), ed. Rtt:hard J. Finneran (New York: Macmillan, 1991). L The Letters of W. B. Yeats, ed. Allan Wade (Lon don: Rupert Hart-Davis, 1954; New fork: Macmillan, 1955). LBP Letters from Bedford Park: A Selection from the Corre spondence (1890-1901) ofjohn Butler Yeats, ec'.. with introduction and notes by William M. Mt.rphy (Dublin: The Cuala Press, 1972). ww Letters on Poetry from W. B. Yeats to Dorothy Wellesley, intro. Kathleen Raine (London and New York: Oxford University Press, 1964). LMR "Ah, Sweet Dancer": W. B. Yeats/Margot RwJ.dock, A Correspondence, ed. Roger McHugh (London and New York: Macmillan, 1970). LNI Letters to the New Island: A New Edition ( CEW VII), ed. George Bornstein and Hugh Witemeyer {Lon don: Macmillan, 1989). LRB The Correspondence of Robert Bridges and W. B. Yeats, ed. Richard J. Finneran (London: Macmillan, 1977; Toronto: Macmillan, 1978). X List of Abbreviations

LTSM W. B. Yeats and T. Sturge Moore: Their Correspon dence, 1901-1937, ed. Ursula Bridge (London: Routledge & Kegan Paul; New York: Oxford Uni versity Press, 1953). LTWBY Letters to W. B. Yeats, ed. Richard J. Finneran, George Mills Harper and William M. Murphy with the assistance of Alan B. Himber, 2 vols (Lon don: Macmillan; New York: Columbia University Press, 1977). Mem Memoirs: Autobiography - First Draft: journal, tran scribed and ed. Denis Donoghue (London: Macmillan, 1972; New York: Macmillan, 1973). MS Berg Manuscript in the Berg Collection, New York Pub lic Library (Astor, Lenox and Tilden Founda tions). Berg is occasionally used also for the location of special copies of books. MSMBY Manuscript in the Collection of Michael Butler Yeats. MS!TLI Manuscript, National Library of Ireland (followed by number). Myth Mythologies (London and New York: Macmillan, 1959). MYl-'1, 2 The Making of Yeats's "A Vision": A Study of the Automatic Script, by George Mills Harper, 2 vols (London: Macmillan, 1987). NC A New Commentary on the Poems of W. B. Yeats, by A. Norman Jeffares (London: Macmillan, 1984). OBJI/.V The Oxford Book of Modern Verse 1895-1935, chosen by W. B. Yeats (Oxford: Clarendon Press, 1936). P&I Prefaces and Introductions: Uncollected Prefaces and Introductions by Yeats to Works by other Authors and to Anthologies edited by Yeats ( CEW VI), ed. William H. O'Donnell (London: Macmillan, 1988). PR The Poems: Revised, ed. Richard J. Finneran (New York and London: Macmillan, 1989) ( CEW /, which replaces The Poems: A New Edition, ed. Richardj. Finneran [New York: Macmillan, 1983; London: Macmillan, 1984], PNE). SB The Speckled Bird, With Variant Versions, ed. William H. O'Donnell (Toronto: McLelland & Stewart, 1976). List of Abbreviations xi

ss The Senate Speeches of W. B. Yeats, ed. Donald R. Pearce (Bloomington: Indiana University Press, 1960; London: Faber & Faber, 1961). TB Theatre Business: The Correspondence of the First Ab bey Theatre Directors: William Butler Yeats, Lady Gregory and ]. M. Synge, ed. Ann Saddlemyer (Gerrards Cross, Bucks.: Colin Smythe; Univer sity Park, Pa: Pennsylvania State University Press, 1982). UPJ Uncollected Prose by W. B. Yeats, vol. I, ed. John P. Frayne (London: Macmillan; New York: Colum bia University Press, 1970). UP2 Uncollected Prose by W. B. Yeats, vol. 2, ed. John P. Frayne and Colton Johnson (London: Macmillan, 1975; New York: Columbia Univer sity Press, 1976). VP The Variorum Edition of the Poems of W. B. Yeats, ed. Peter Alit and Russell K. Alspach (New York: Macmillan, 1957). To be cited from the corrected third printing of 1966 or later printings. VPl The Variorum Edition of the Plays of W. B. Yeats, ed. Russell K. Alspach assisted by Catherine C. Alspach (London and New York: Macmillan, 1966). To be cited from the corrected second printing of 1966 or later printings. VSR The Secret Rose, Stories by W. B. Yeats: A Variorum Edition, ed. Warwick Gould, Phillip L. Marcus and Michael J. Sidnell (London: Macmillan, 1992). To be cited from this second edition, revised and enlarged from the 1981 Cornell University Press edition. Wade Allan Wade, A Bibliography of the Writings of W. B. Yeats, 3rd edn, rev. Russell K. Alspach (Lon don: Rupert Hart-Davis, 1968). To be followed by item number (or page number preceded by "p"). WWBJ, 2, 3 The Works of William Blake: Poetic, Symbolic, and Critica~ ed. with lithographs of the illustrated "Pro phetic Books", and a memoir and interpretation by Edwin John Ellis and William Butler Yeats, 3 vols (London: Bernard Quaritch, 1893). xii List of Abbreviations

YA Yeats Annual (London: Macmillan), to be followed by number and date. YAACTS Yeats: An Annual of Critical and Textual Studies (various publishers), to be cited by number and date. YL Edward O'Shea, A Descriptive Catalog of W. B. Yeats's Library (New York and London: Garland Publish ing, 1985). To be followed by item number (or page number preceded by "p."). YO Yeats and the Occult, ed. George Mills Harper (Toronto: Macmillan; Niagara Falls, N.Y.: Maclean Hunter Press, 1975). yp Yeats's Poems, ed. and annotated by A. Norman Jeffares with an appendix by Warwick Gould (Lon don: Macmillan, 1989). (To be cited from the second, revised edition of 1991.) YT Yeats and the Theatre, ed. Robert O'Driscoll and Lorna Reynolds (Toronton: Macmillan; Niagara Falls, N.Y.: Maclean-Hunter Press, 1975). YVPI, 2, 3 Yeats's Vision Papers, ed. George Mills Harper as sisted by Mary Jane Harper (London: Macmillan, 1992). Vol. 1: The Automatic Script: 5 November 1917-18June 1918, ed. Steve L. Adams, Barbara J. Frieling and Sandra L. Sprayberry; vol. 2: The Automatic Script: 25 June 1918-29 March 1920, ed. Steve L. Adams, Barbara J. Frieling and Sandra L. Sprayberry; vol. 3: Sleep and Dream Notebooks, Vision Notebooks I and 2, Card File, ed. Robert Anthony Martinich and Margaret Mills Harper. Editorial Board

Seamus Deane William H. O'Donnell Denis Donoghue Yukio Oura Jacqueline Genet Marjorie Perloff John Harwood Kathleen Raine A. Norman Jeffares Ronald Schuchard K. P. S. Jochum Michael J. Sidnell John S. Kelly Colin Smythe Edna Longley C. K. Stead Phillip L. Marcus Katharine Worth

Editor: Warwick Gould &search Editor: Deirdre Toomey

xiii Notes on the Contributors

Alison Armstrong is editor of "The Herne's Egg": The Manuscript Materials in the Cornell Yeats Manuscript Series, 1993. She has also published The Joyce of Cooking: Food and Drink from James joyce's Dublin (1986) and lives in New York.

Wayne K. Chapman is Assistant Professor of English at Clemson University, South" Carolina. His Yeats and English Renaissance Poetry was published by Macmillan in 1990. He is the author of several articles on Yeats's library, and on the textual evidence of Yeats's working copies of his own books. He has in hand a ge netic study of the manuscripts and prompt books of The Countess Cathleen.

Alan Denson is well known for his edition of Letters from AE (1961), his Printed Writings by George W. Russell (AE): A Bibliography (1961) and for Thomas Bodkin: A Rio-bibliographical Survey (1966) and john Hughes: Sculptor (1865-1941): A Documentary Biography (1969),james H. Cousins (1873-1956) and Margaret E. Cousins (1878-1954): A Rio-bibliographical Survey (1967). He lives in Scotland. Publication of two new bio-bibliographies (of Herbert E. Palmer and Padraic Colum) is pending.

Steve Ellis is Senior Lecturer in English at the University of Bir mingham. His Dante and English Poetry: Shelley toT. S. Eliot (1983) was followed by The English Eliot: Design, Language and Landscape in "Four Quartets" (1991}, two volumes of his own poetry and a verse translation of Dante's Hell (1994). He is working on the non-academic reception of Chaucer in the twentieth century.

Matthew Gibson has completed a Doctorate at the University of London on Samuel Taylor Coleridge and W. B. Yeats.

xiv Notes on the Contributors XV

Richard Greaves completed his Doctorate at the University of Lon don on W. B. Yeats's middle period and Modernism. He has taught English and Anglo-Irish literature at St Mary's College, Strawberry Hill, Twickenham.

Robert Hampson is Senior Lecturer in English at Royal Holloway and Bedford New College, University of London, and is the co editor (with Peter Barry) of New British Poetries: The Scope of the Possible (1993) and joseph Conrad: Betrayal and Identity (1992). The textual editor of numerous editions of Conrad and Kipling for Penguin, he is editor of The Conradian.

A. Norman Jetfares has held chairs at the Universities of Stirling, Leeds and Adelaide. His first book was W. B. Yeats: Man and Poet (1949) and his many studies and editions ofYeats include A New Commentary on the Poems of W. B. Yeats (1984), W. B. Yeats: A New Biography (1989), A Vision and Related Writings (1990), Yeats's Love Poems (1990) and Yeats's Poems (1989, second and revised edition, 1991). He is Honorary Life President of the International Asso ciation for the Study of Anglo-Irish Literature and, with Anna MacBride White, has recently edited Always Your Friend: Letters between Maud Gonne and W. B. Yeats, 1893-1938 (1992).

Veronica Kelly teaches drama at the University of Queensland and co-edits Australasian Drama Studies. She has written extensively on contemporary Australian dramatists and edited nineteenth-cen tury playtexts: Garnet Welch's pantomime Australia Felix (1873) and Marcus Clarke's burlesque The Happy Land.

Colin McDowell is a public servant in the Australian Bureau of Statistics. He is a regular contributor on Yeats and A Vision, and the author of many articles on Ezra Pound.

Colleen McKenna is working on a Doctorate at the University of London on W. B. Yeats and Seamus Heaney.

William H. o•oonnell is Chairman of the English Department, Memphis State University, and editor of several of Yeats's works, including The Speckled Bird, With Variant Versions (1976) and Pref aces and Introductions (CEW VI) (1988). His edition of Later Essays (CEW V) will be published shortly. xvi Notes on the Contributors

Morton D. Paley is Professor of English at the University of Cali fornia Berkely. A renowned Blake scholar, he is author of Energy and the Imagination: A Study of the Development of Blake's Thought (1970), The Continuing City: William Blake's Jerusalem (1983) and Jerusalem the Emanation of the Giant Albion (1991) and is co-editor of Blake: An Illustrated Quarterly.

Marjorie Perloff is Sadie Dernham Patek Professor of Humani ties at Stanford University. Her most recent books (reviewed in this number) are Poetic License: Essays on Modernist and Postmodernist Lyric and Radical Artifice.

Lis Pihl's annotated edition of Signe Toksvig's Irish Diaries, 1926-37 was published by the Lilliput Press, Dublin, in 1994.

John Purser is an Anglo-Irish Glaswegian, well known as com poser of the operas The Undertaker and The Bell, as poet and play wright, and winner of the Radio Eireann Carolan Prize. He lectures for the Glasgow University Department of Adult and Continuing Education, and broadcasts on music for the BBC. In 1992 he won the McVitie Scottish Writer of the Year Award for Scotland's Music.

Hilary Pyle has published biographies of Jack B. Yeats, James Stephens and Estella F. Solomons, and other studies and cata logues of Irish art. Her biography of the poet and critic Susan L. Mitchell is forthcoming from Colin Smythe Limited, in the Princess Grace Irish Library Series, and her Jack B. Yeats: A Catalogue Raisonni of the Oil Paintings and jack B. Yeats: His Watercolours, Drawings and Pastels are reviewed in this volume.

Michael Sidnell is Professor of English at Trinity College, Univer sity of Toronto. Co-editor of Druid Craft: The Writing of "The Shad owy Waters" and of The Secret Rose, Stories by W B. Yeats: A Variorum Edition, he is author of Dances of Death: The Group Theatre of Lon don in the Thirties and co-editor of Mythologies, forthcoming in the Collected Edition of the Works of W B. Yeats.

P. S. Sri is Associate Professor in the Department of Literature and Philosophy, Royal Roads Military College, Canada.

Deirdre Toomey is a co-editor of the forthcoming The Collected Notes on the Contributors xvii

Letters of W. B. Yeats, Volume II (1896-1900), and of Early Essays in the new Macmillan Collected Edition of the Works of W. B. Yeats. She is assistant editor of The Complete Graphic Works of William Blake, ed. David Bindman (1978) and editor of Yeats and Women: Yeats Annual No. 9 (1991).

Helen Vendler is A. Kingsley Porter Professor at Harvard Univer sity. She is at work on a commentary on Shakespeare's sonnets and a book on Yeats's styles, of which her essay will be a part. She has written books on Yeats, Stevens, Herbert and Keats; her essays on contemporary poetry are collected in Part of Nature, Part of Us and The Music of What Happens, and she has edited The Faber Book of Contemporary American Poetry. She is working on a com mentary on Shakespeare's Sonnets. List of Plates

Frontispiece: "Red Hanrahan's Vision", monochrome wash drawing by Jack B. Yeats, n.d. [1896], possibly intended as an illustration for "The Vision of Hanrahan the Red" in The Secret Rose (1897). Photograph courtesy Sligo County Library and Museum. 1 Jack B. and W. B. Yeats at "Gurteen Dhas", the house of the Yeats sisters, n.d. 2 "The Fairy Greyhound", illustration by Jack B. Yeats to Irish Fairy Tales (1892). Photograph courtesy Hilary Pyle. 3 "The Young Piper", illustration by Jack B. Yeats to Irish Fairy Tales (1892). Photography courtesy of Hilary Pyle. 4-5 Jack B. Yeats's wash vignettes illustrating "Michael Clancy, The Great Dhoul, and Death" from The Old Country, a Christmas Annual (1893). Photographs courtesy the British Library. 6 Illustration by Jack B. Yeats for "Cathleen, the Daughter of Hoolihan", A Broad Sheet, April 1903. Photograph courtesy Hilary Pyle. 7 Jack B. Yeats's illustration for a postcard for Hely's Ltd, 85 Dame Street, Dublin, Charity Appeal, c.1905. Private Collec tion, London. 8 "Les marchands d'ame" from Antoine J. Napoleon Lespes' Les Matinees de Timothee Trimm (Paris, 1865). Photograph cour tesy Harvard University Library.

xviii Editor's Introduction

"Less plays than fragments of a ritual - the ritual of a beautiful forgotten worship". Thus W. B. Yeats reviewed The Beloved of Hathor and The Shrine of the Golden Hawk by Florence Farr and Olivia Shakespear when the plays were performed in London by the Egyptian Society in January 1902. Florence Farr herself played the priestess Nectoris in the second play, and Dorothy Paget (the faery child from The Land of Heart's Desire), played her Ka, or subtle body. In 1905 this, the better piece, was curtain-raiser to The Shadowy Waters (from which The Shrine of the Golden Hawk takes its preoccupation with semi-precious stones) at a Theosophical Convention in the presence of Maurice Maeterlinck. Mter ninety-odd years, the Company of Hathor, a group put together expressly for the purpose, offered charity performances of the The Beloved of Hathor and The Shrine of the Golden Hawk at the Rudolf Steiner Theatre, Regents Park, London, on 21 August 1993. Caroline Wise of the Atlantis bookshop, explained in her preliminary statement that Florence Farr had sought her during a seance and asked that she put on the plays for a breast cancer charity. Her players, as committed as she evidently was to the project, experienced difficulties with such strange pieces. Yeats had identified a "chaos of motives and motiveless incidents" in The Beloved of Hathor, which he privately considered "very ama teurish". He too had watched as male actors unwisely played the priests of The Shrine of the Golden Hawk too naturalistically, and the new production gave the audience some uncomfortable glimpses of how Maud Gonne (and many a neophyte) must have felt at GD ceremonies. For Yeats, the best moments of The Shrine of the Golden Hawk came when Nectoris (the priestess) and her Ka (or subtle body) engage in chanted dialogue, before the priestess dances in the inner sanctum. Of Nectoris's Ka Yeats commented that "we do

xix XX Editor's Introduction

not find its manifest flesh and blood too earthly for a spirit ... for flesh and blood have begun to seem unearthly" ( UP2 266), He had identified "unearthliness" in reading Robert Bridges' The Return of Ulysses in 1896. The transformation of Ulysses was not "the climax of an excitement of the nerves, but of that un earthly excitement which has wisdom for fruit, and is of like kind with the ecstasy of the seers, an altar flame, unshaken by the winds of the world, and burning every moment with whiter and purer brilliance" (E&I 200). A similar "unearthly energy" (E&I 97) marked the culminative effect of his week in Stratford in 1901. But in these joint efforts of his two lovers he saw the way forward to the realisation of the unearthly in At the Hawk's Well and The Resurrection. Amid the modest achievement of the Company of Hathor, Fleur Shearman's Ka renewed this splendid moment. One could see what it was that Yeats had wanted and not yet found before in contemporary theatre, not even in Axel in Paris in 1894. He him self had recognised the difficulty of writing and acting unfamiliar material, but to the audience in the Steiner Theatre, his review of the 1902 production ( UP2 266-7) would have seemed remark ably accurate. By 1995 the National Gallery of Ireland will have established a Yeats museum within the Gallery, dedicated to the display of its fifty or so paintings by Jack B. Yeats and with supporting displays of pictures by other members of the family and the display of documentary material relating to the artist and his family. Ac cording to the Gallery's Director, Raymond Keaveney, exhibition space will be made available either within the Gallery itself or elsewhere in Merrion Square. There are two corrections to errors in previous Yeats Annuals. Plate 5 in Yeats Annual 7, "The Lake at Coole", a pastel drawing by Yeats now in the Wake Forest University collection, is quite separate from the Yeats pastel of Coole Lake reproduced in The Green Sheaf 4 (1903), edited by Pamela Colman Smith, cf. YA 7 216. The letter in the Robert W. Woodruff Library at Emory University which contains a caricature by AE of "Wiliam MacYeats: I Bard of the Gael!" riding upon the storm carrying "a black porker" is of April, not June, 1898 (cf. YA 3 155). The motif is repeated in "The Banning of the Black Pig", AE's cover design for the 1898 Irish Homestead Christmas Number, A Celtic Christ mas, which illustrated Douglas Hyde's article of the same title. I Editor's Introduction xxi

am grateful to Colin Smythe for pointing out these errors. Professor Roy Foster, FBA, Carroll Professor of Irish History in Oxford (c/o Hertford College, Oxford) is working on his auth orised life of W. B. Yeats for the Clarendon Press, Oxford. Professor Ann Saddlemyer, Master of Massey College, University of Toronto, continues to work on her authorised life of George Yeats. Dr John S. Kelly, General Editor of The Collected Letters of W B. Yeats (Clarendon Press) would be pleased to hear of newly recovered letters of Yeats, at StJohn's College, Oxford. Colin Smythe (PO Box 6, Gerrards Cross, Bucks. SL9 8EF, UK) is working on his complete revision of the Wade-Alspach Bibliogra phy for the Clarendon Press, and Warwick Gould and Deirdre Toomey (c/o Yeats Annual, address below) are working upon an authorised edition of Yeats's Occult Diaries, 1898-1901 for the Macmillan Press. All would welcome new information from readers. Yeats Annual No. 12 will be a special number with Edna Longley as Guest Co-editor, entitled That Accusing Eye: Yeats and His Irish Readers. Contributions for Yeats Annual No. 13 should reach me by 31 May 1994, and those for No. 14 by the same date in 1995 at the Department of English, Royal Holloway and Bedford New College (University of London), Egham Hill, Egham, Surrey, TW20 OEX, UK. The E-mail address in (UK): [email protected] and (Int): [email protected]. Future issues of Yeats Annual will be copy-edited on disk, and we will therefore require contributors to supply final copy in disk form. Material should be supplied on 3.5" disk, and preferably in NotaBene 4 which is the program officially used by Yeats Annual. We prefer disk-stored material to be presented in NotaBene 4 (or at least 3.1), although we can also accept copy in Microsoft Word 5 and WordPerfect 5.1. However, as translation can create problems it would be most advisable to supply your files in NotaBene, unless sending by E-mail in ASCII form. If you use any other program, please send the file in ASCII form as well as in the original program. It is essential to send with the disk three copies on paper, and we advise that you send submissions in two separate parcels. Further information for contributors and a style sheet are also available upon request. I should also be pleased to receive offprints, review copies and other bibliographical infor mation at this address. As this volume was being prepared for press we learned with xxii Editor's Introduction sadness of the death of Professor Frank Kinahan of the Univer sity of Chicago, a valued contributor and author of the learned and sensitive Yeats, Folklore, and Occultism: Contexts of the Early Work and Thought (Boston: Unwin Hyman, 1988).

WARWICK GOULD Acknowledgements

Our chief debt of gratitude is to Miss Anne Yeats and Mr Michael B. Yeats for granting permission (through A. P. Watt Ltd) to use published and unpublished materials by Jack B. and W. B. Yeats in this volume. Previously unpublished materials are copyright Michael B. Yeats and Anne Yeats. Many of our contributors are further indebted to Michael Yeats and Anne Yeats for making unpublished materials available for study and for many other kindnesses, as is the Editor. Other unpublished materials have been made available to us through the kindness of Colin Smythe. A number of helpful li brarians, including John McTernan of the Sligo County Museum and Library, Catherine Fahy of the National Library of Ireland, Dr Philip Milito of the Henry W. and Albert A. Berg Collection, New York Public Library (A'Itor, Lenox and Tilden Foundations), Dr Cathy Henderson and Professor Thomas F. Staley at the Harry Ransom Humanities Research Center, provided us with materials and research assistance. The British Library, the University of London Library, and Mr David Ward of the Library of Royal Holloway and Bedford New College (University of London), have also been unfailingly helpful, and Professor Robin Alston of Uni versity College, London, provided invaluable assistance with on line databases. Many other helpful scholars and librarians have been thanked within the compass of individual contributions to this volume. Images reproduced in this volume have been provided through the generosity of the Sligo County Museum and Library and Dr Hilary Pyle, while Mr Roy Davies of Royal Holloway and Bedford New College, University of London, provided great assistance in preparing images for press. We continue to be grateful to Miss Riette Sturge Moore and the Trustees of the Sturge Moore Es tate for permission to use on the front board a symbol adapted from Thomas Sturge Moore's designs for the H. P. R. Finberg translation of Axel ( 1925).

xxiii xxiv Acknowledgements

Linda Shaughnessy of A. P. Watt & Son, Professor Roy Foster, FBA and Dr John Kelly on behalf of Oxford University Press were generous with permissions. At Macmillan, Charmian Hearne, Margaret Cannon and Tim Farmiloe were particularly helpful during the preparation of this volume. Members of the Advisory Board read a very large number of submissions for this number and we are grateful to them, and also to Professor Martin Dodsworth, Mr R. A. Gilbert, Mr Roger Nyle Parisious, as well as to Joyce Bianconi and Valerie Murr. Deirdre Toomey as Research Editor took up the challenges which had defeated contributors and thus found innumerable ways to make this a better book. All contributors have reason to be very grateful to her.

WARWICK GOULD