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Index

The entry for ‘Yeats, William Butler’ focuses on references to his works. Entries concerning his attitudes or experiences are interspersed in the index’s main body.

Abbey Theatre, Yeats and George Russell quarrel Blake, William, as edited by Yeats, 25;and over, 41; Yeats asserts control over, 42;and London, 86; and Yeats’s aesthetics, 203, Dublin, 93, 96; and Lady Gregory, 135–7; 204, 206, 318;hisJerusalem alluded to by and Synge, 142–3; and Yeats’s aesthetics, Yeats, 232; and Yeats’s spiritual beliefs, 239, 209; and organized religion, 229; see also 257, 263; inﬂuences Yeats’s symbolism, Chapter 31 310–15, 316, 317, 390; and Yeats’s interest in Adam, Villiers de l’Isle, 206, 331 the visual arts, 339, 341, 345; and the Adams, Gerry, 406 material text, 376 Adams, Hazard, 182, 184, 371 Blavatsky, Madame Helena Petrovna, and Adorno,T.W.,16–17, 23, 203 London, 81; and Yeats’s aesthetics, 206;and AE, see Russell, George his occultism, 239–40, 257; and folklore, aesthetics or aestheticism, 27, 28, 152, 181, 238, 248; mediates his exposure to classical 318; see also Chapter 19 philosophy, 276 Allingham, William, 301 Bloom, Harold, 238, 315–16, 317, 318 anti-self, see mask Blythe, Ernest, 213, 217, 219 anti-Semitism, 155, 220, 222 Bornstein, George, 371, 403, 404 Arkins, Brian, 283 Bowra, C. M., 390 Arnold, Matthew, 170, 205 Bradford, Curtis, 373 Ashbury, John, 350 Bradshaw, David, 177 Auden, W. H., ridicules Yeats’s occultism, Braude, Ann, 240 166n.15, 238; and the Group Theatre, Brooks, Cleanth, 238, 390 338n.14; and Yeats’s posthumous reception, Brown, Terence, 239 386–7, 388, 392 Browning, Robert, 31, 149, 154, 200, 321, 350 Balzac, Honorede,´ 57–8, 355–6, 359 Burke, Edmund, and ‘The Second Coming’, 53; Barker, Harley Granville, 332 and Yeats’s defense of the Anglo-Irish Barroso, Jose´ Manuel, 407 minority, 60;andDublin,95; characterizes Baudelaire, Charles, 86 Ireland or the Anglo-Irish, 170, 171;and Berkeley, George, and Yeats’s defence of the Yeats’s alleged fascism, 214; inﬂuences Anglo-Irish minority, 60;andDublin,95; Yeats’s views on the family as a political and Daimons, 281; and the force of mind, concept, 288, 290–2; and ‘Meditations in 288–90; and ‘Meditations in Time of Civil Time of Civil War’ and Yeats’s Coole Park War’ and Yeats’s Coole Park poems, 295, poems, 295, 296, 297 296 Burne-Jones, Edward, 341, 342 Besant, Annie, 257 Bush, Ronald, 397 Blackmur,R.P.,238, 391 Butt, Isaac, 15

429

430 Index

Carleton, William, 228, 251, 301 213, 397; and popular references to Yeats, Catholics or Catholicism, Protestants or 407–8, 410 Protestantism (or the Anglo-Irish), and Irish Municipal Reform, 15;and Dante Alighieri, 188, 263 disestablishment, 16, 18, 21;and Darwin, Charles, 21, 228, 242 nationalism, 27; and Yeats’s defence of the Davie, Donald, 388, 389 Anglo-Irish minority, 59–60;andDublin, Davis, Thomas, influences Yeats’s audience, 26, 18–19, 90, 95; and Thoor Ballylee, 103;and 301; influences Yeats, 301, 302–5; compared John Butler Yeats, 110, 115; and class, 170, to Mangan, 306; compared to Ferguson, 171, 172, 176; and eugenics, 176;and 308 postcolonialism, 188, 189; and ‘Meditations Deane, Seamus, and Yeats’s class politics, 170, in Time of Civil War’, 190; and Yeats’s 171, 172; his views compared to Edward alleged fascism, 216; and Nietzsche, 270, Said’s, 179, 182, 188, 191; and Yeats’s critical 272; and family, 290–1; and Yeats’s reception, 398–9, 401; and ‘The Second posthumous reception, 389, 392, 396; see Coming’, 412 also Chapter 21 Denvir, Gearoid, 409 Cattell, Raymond B., 177 Derrida, Jacques, 414 Chadwick, Joseph, 173 de Valera, Eamon, 60, 61, 62, 64, 217–18, Chang Chun-hsiung, 407 219 Chatterjee, Mohini, 239, 241, 257, 258 de Valois, Ninette, 336–7 Chaudhry, Yug Mohit, 404 Dickinson, Mabel, 42 Chekhov, Anton, 353 Doggett, Rob, 400 Civil War, influences Yeats’s politics, 55, 189, 273; Donoghue, Denis, 275n.4, 385, 392, 393 Maud Gonne’s response to, 123;the Dowson, Ernest, 27, 324 Church of Ireland’s and the Catholic Dublin (and its suburbs), changes rapidly during Church’s responses to, 230;andOedipus Yeats’s youth, 17, 18–20, 21; its influence on at Colonus, 268; and Yeats’s aesthetics, Yeats compared to Sligo’s, 69, 70;and‘In 347 the Seven Woods,’ 100; and Yeats’s views of Clarke, Austin, 389 Synge, 145; see also Chapter 8 Coffey, George, 376 Duffy, Charles Gavan, 26, 304 Cohen, Adam, 412 Duhem, Pierre, 279, 284, 285 Coleridge, Samuel Taylor, 269, 312 Duncan, Isadora, 116, 336 communism, 214, 215, 218, 219 Connolly, James, 229, 234 Easter Rising, as consequence of 1890s Conquest, Robert, 388 nationalism, 26; and Yeats’s response to Coole, its significance summarized, 98–101;and First World War, 48; its effect on Yeats, 94, folklore, 102; and ‘Coole Park, 1929’, 103; 101, 229, 273;andCathleen ni Houlihan, and ‘Coole and Ballylee, 1931’, 105–6;and 127; and ‘September 1913’, 382; Lady Gregory, 129, 130, 134, 137; and Yeats’s see-also ‘Easter, 1916’ views of the Nazis, 222;housesYeats’s Eastwood, Clint, 408–10 manuscripts, 368–9 Eglinton, John, 228 Corbet, Arthur, 19 Eliot, George, 354–5, 356 Corbet, Robert, 16, 17, 112 Eliot, T. S., and London, 83;andPound,151, 152; Corbett, John, 22 and Yeats’s aesthetics, 211, 212; and Yeats’s Cosgrave, Patrick, 392–3 occultism, 237–8, 239, 241, 243; and Yeats’s Cosgrave, William T., 57, 231 relationship to modernism, 320, 322, Craig, Edward Gordon, 333–4, 336 324–6, 328, 367; and Yeats’s posthumous Croce, Benedetto, 59, 215, 216 reception, 385, 386, 387, 388, 390, 391, Croker, Thomas Crofton, 249 393 Cromwell, Oliver, 121–2, 234 Ellis, Edwin, 25, 310, 311, 341, 377 Cross, K. G. W., 387, 392 Ellis, Sylvia C., 335, 336 Cullingford, Elizabeth Butler, and Yeats’s love Ellmann, Richard, 238, 388, 391–2, 396 poetry and/or treatment of gender, 124, Empedocles, 276, 279–80, 284, 285 127, 342–3, 400, 401, 402; and eugenics, Estlake, Allan, 174 177; and Yeats’s politics or alleged fascism, eugenics, 65, 191, 214, 220; see also Chapter 16

Index 431

Fabricant, Carol, 292 Civil War’ and Yeats’s Coole Park poems, Fanon, Frantz, 179, 189, 399 295, 296, 297 fascism, and Yeats’s Senate service, 58–9;andhis Gonne, Iseult, and ‘Two Years Later’, 44; abused opposition to de Valera, 62–4;andPound, by John MacBride, 125; and George Yeats, 152–3, 155, 156; and Yeats’s settler colonial 158, 159, 160; and ‘Michael Robartes and status, 179, 182, 191; and ‘Lapis Lazuli’, 273; the Dancer’, 201; and fascism, 215, 220 and Yeats’s posthumous reception, 392, 396, Gonne, Maud, Yeats proposes marriage to, 25; 398; and ‘The Second Coming’, 412; see also and militant nationalism, 26; inspires Rose Chapter 20 poems 29; disillusions Yeats and thereby Fay, Frank and Fay, Willie, 332 shapes his development, 35, 36–9;andThe Fell, Herbert Granville, 379 Countess Cathleen, 40;andOn Baile’s Fenollosa, Ernest, 324, 335 Strand, 40; and Synge’s The Shadow of the Ferguson, Samuel, 228, 301, 302, 305, 307–9 Glen, 42, 136; renews relationship with Finneran, Richard, 383, 403 Yeats in 1908, 42–4; refused entry to her First World War, Yeats’s avoidance of, 46, 47; house by Yeats, 46, 51;and‘NoSecond and the Easter Rising, 48; and Yeats’s Troy ’ , 92–3; and ‘The Wild Swans at responses to Robert Gregory’s death, 50–1; Coole’, 101; and Lady Gregory, 130, 131, 132; and ‘Reprisals’, 54; influences Yeats’s acts in Cathleen ni Houlihan, 134;and postwar political thinking, 58; and London, George Yeats, 158, 159, 160;her 82; and Maud Gonne, 123;andPound,150; anti-Semitism, 214, 220; and Yeats’s interest and Yeats’s interest in heroic violence, 272, in Swift, 294; and ‘The Song of Wandering 273; and ‘The Second Coming’, 328;and Aengus’, 307; and ‘The Rose of the World’, Yeats’s aesthetics, 347 314; and ‘Reconciliation’, 323; and Yeats’s Flaubert, Gustave, 184, 353, 357, 360 Pre-Raphaelitism, 342; presented Fletcher, Ian, 387, 391 manuscripts by Yeats, 367;andIn the Seven folklore, and Sligo, 75–6; and Galway, 98, 99, Woods, 380; see also Chapter 11 101–2; and Lady Gregory, 130, 131;and Gosse, Edmund, 133 Synge, 140;andPound,150;and Gould, Warwick, 253, 383, 403 nationalism, 170, 181; and Yeats’s occultism, Gray, Terence, 336 239; and his fiction, 357; see also Chapter 23 Gregory, Lady Augusta, and Coole Park, 25, 74, Foster, R. F., as Yeats’s biographer, 3, 111;on 98, 103, 222, 296; advises Yeats about Maud Yeats’s alleged fascism, 7–8;onYeats’s Gonne, 39; and the Abbey Theatre, 42; family or the Anglo-Irish Ascendancy, 70, contributes to The Nation, 52; her death 290; on Yeats’s periodical publications, 93, affects Yeats, 61; admires de Valera, 62;and 404; on Yeats’s response to Synge, 144;on ‘The Municipal Gallery Re-visited’, 97; Yeats’s occultism, 239, 240;andhistorical protests excavation of Tara, 99; and Yeats’s revisionism, 398 class politics, 100, 172; and folklore, 101, Frazer, James George, 253, 304 106, 252–3; and Synge, 140, 142–3, 145;and Freemasonry, 73 George Yeats, 159, 160; eclipses Yeats’s Frye, Northrop, 237 interest in Ferguson, 308; and Yeats’s Romanticism, 324; and his manuscripts, Gentile, Giovanni, 59, 215, 216 365, 367–9; and ‘September 1913’, 381; see George, Stefan, 219–20, 221 also Chapter 12 Gilchrist, Alexander, 311, 341 Gregory, Margaret, 55, 103, 137 Goebbels, Joseph, 222 Gregory, Major Robert, and Yeats’s response to Golden Dawn, Order of the, and the fin de siècle, First World War, 50; and Coole Park, 98, 25; and Maud Gonne, 38; and Yeats’s Sligo 130, 132, 137; and Yeats’s class politics, 171; relatives, 73; and ‘To Ireland in the Coming and stage design, 333 Times’, 124; and George Yeats, 160, 161;and Gregory, William, 130, 132 Yeats’s aesthetics, 206; and his occultism, Griffith, Arthur, 42, 97, 141 239, 240; and his symbolism, 313 Gunn, Thom, 387 Goldsmith, Oliver, and Dublin, 95; influences Gyles, Althea, 343, 379 Yeats’s views on the family as a political concept, 288, 290, 293–4; ‘The Deserted Haldane, Richard Burdon, Viscount, 50 Village’, 295; and ‘Meditations in Time of Hall, James, 391

432 Index

Hallam, Arthur, 205, 207, 209, 311, 317–18 Keble, John, 235 Hamsa, Bhagwan¯ Shri, 258, 261 Kelly, John, 403 Harper, Margaret Mills, 6, 239, 240, 241 Kennedy, Patrick, 249 Harvey, W. J., 373 Kenner, Hugh, 371, 391 Heine, Elizabeth, 161 Kermode, Frank, 373, 391 Hempel, Eduard, 220, 221 Kernoff, Harry, 234 Henn, T. R., 389–90 Kiberd, Declan, 400 Heraclitus, 276, 279–80, 284, 285 Kierkegaard, Søren, 16, 243 Hitler, Adolf, 218, 273 Kline, Gloria C., 400 Holdeman, David, 381, 404 Krieger, Murray, 349 Holloway, Joseph, 141 Krop, Hildo, 336 Horniman, Annie, 42, 136 Horton,W.T.,256, 343 Lane, Hugh, 50, 95, 210, 340, 381 Howe, Stephen, 398 Larkin, James, 381 Howes, Marjorie, 6, 400, 401, 402 Larkin, Philip, 388 Hughes, Ted, 388 Leavis, F. R., 238, 386 Hutcheson, Francis, 290 Le Gallienne, Richard, 80, 87 Huxley, Thomas Henry, 21, 242, 244 Lessing, Gotthold, 345 Hyde, Douglas, inaugurates the National Lewis, Wyndham, 150, 151, 340, Literary Society, 26; protests excavation of 358 Tara, 99; as dramatist, 134; protests Synge’s Lloyd, David, 399 The Shadow of the Glen, 136; and folklore, London, and Yeats’s nationalism, 27; compared 233, 249, 251, 252 to Sligo or Dublin, 73, 89, 90, 357;and Pound, 148, 150, 152; and folklore, 251; see Inghinidhe na hEireann´ (Daughters of Ireland), also Chapter 9 122–3, 128 Longenbach, James, 149 Irish Civil War, see Civil War Irish Literary Theatre or Irish National Theatre MacBride, Major John, 39, 101, 120, 125, 380 Society,seeAbbey Theatre MacDonagh, Thomas, 30 Irish nationalism, see nationalism MacNeice, Louis, his views of Yeats compared to Irish War of Independence, see War of Auden’s or Larkin’s, 387, 388; assesses Yeats Independence in relation to Second World War and/or Irvine, St John, 360 fascism, 387, 392; and Irish responses to Ito, Michio, 82, 336 Yeats, 388, 389, 390 MacNeill, Josephine, 220–1 James, William, 244 Macrobius, 286 Jameson, Andrew, 230 Maddox, Brenda, 187, 238, 239 Jarrell, Randall, 390, 391 magic, see occultism Jarry, Alfred, 331 Mangan, James Clarence, and Rose symbolism, Jeffares, A. Norman, 383, 389, 392, 403 28; and Yeats’s spiritual beliefs, 228; Johnson, Lionel, 27, 28 inﬂuences Yeats, 301, 302, 305–7 Johnston, Charles, 257 Mannin, Ethel, 214, 219, 222 Jonson, Ben, 103, 229 Mark, Thomas, 403 Joyce, James, and ‘The Lake Isle of Innisfree’, 30, Markievicz, Constance, 123, 127 87;andDublin,91, 92, 95; and Synge, 141; Martyn, Edward, 42, 98, 99 and Pound, 151, 152; Yeats’s inﬂuence on mask, masking, or anti-self, and Maud Gonne, Stephen Dedalus, 202n.2; Yeats’s views of, 44; and Yeats’s responses to First World 216, 358, 359–60; and modernism, 322, 403 War, 48, 49;andDublin,90; and Synge, 144, 145; and aristocracy, 173; and gender, Kant, Immanuel, 187, 289, 290, 297 193, 194, 202; and classical philosophy, Kavanagh, Patrick, 221, 389 277–9; and Yeats’s plays, 331, 334;andhis Kearney, Richard, 397–8, 399 creative process, 366, 370 Keats, John, and ‘The Wild Swans at Coole’, Mathers, MacGregor, 240, 276 100; and Yeats’s aestheticism, 318;and Mbeki, Thabo, 407 Yeats’s interest in the visual arts, 341, 345, McAleese, Mary, 406 349 McClatchy, J. D., 340

Index 433

Mc Cormack, W. J., on Yeats’s early life, 3;on North, Michael, on Yeats’s aversion to his alleged fascism, 213, 219, 221;onYeats commercialism and/or materialism, 169, and Burke, 291; critiques Cullingford’s 170, 171, 172; on ‘September 1913’, 171;on analysis of the politics, 397 Responsibilities, 172;on‘Pardon,Old McHugh, Roger, 221 Fathers’, 173; influenced by Seamus Deane, McGann, Jerome, 365, 402 399 Mead, George H., 289 Noyes, John Humphrey, 174 Meredith, George, 356 Merriman, Brian, 294 O’Brien, Conor Cruise, 52, 60, 213, 215, 392–3, Middleton, William, 20, 71 396 Mill, John Stuart, 19, 110, 242 O’Casey, Sean, 93, 94, 96, 358 Millevoye, Lucien, 37–8, 125, O’Connell, Daniel, 95 132 O’Connor, Frank, 353–4, 360 Mitchell, W. J. T., 350 O’Duffy, Eoin, 63, 213, 214, 217, Mizener, Arthur, 390 218 modernism or modern poetry, and Yeats’s early O’Faolain,´ Sean,´ 360 work, 27, 31, 87, 204, 211–12;andPound, O’Grady, Standish, 301, 302, 305 149, 150;andIn the Seven Woods, 381;Yeats O’Hara, Frank, 341, 349 classified as a modernist, 389, 403; see also O’Higgins, Kevin, 57, 60–1, 62, 97 Chapter 30 O’Leary, John, shapes Yeats’s nationalism and/or Moore, George, satirizes Yeats, 35–6; tells him cultural nationalism 26, 27, 90, 222, 301; that Gonne has a lover, 39; quarrels or assists him financially, 132, 377;and collaborates with him, 40, 41, 42; visits folklore, 248; shapes Yeats’s exposure to the Galway with him, 99; as Lady Gregory’s Young Ireland movement, 303 rival, 136 O’Rathaille, Aoghan, 293, 307 Moore, Marianne, 320, 326, 328 O’Rourke, Meghan, 413 Moore, Sturge, 259, 333, 382 occultism, and ‘To Ireland in the Coming Moretti, Franco, 184 Times’, 29, 302;andDublin,90, 96;and Morley, John, 121–2 Pound, 149; and Yeats’s aesthetics, 206, 208; Morris, William, influences Yeats’s politics, 57, and organized religion, 228; and folklore, 172, 381; influences his interest in the visual 247, 248, 251; and Nietzsche, 269;and arts, 341, 342; and the material text, 376, Blake, 311; and Yeats’s fiction, 357;andhis 380, 381 posthumous reception, 391; see also Muldoon, Paul, 369 Blavatsky, Madame Helena Petrovna; Mulryne,J.R.,385 Golden Dawn, Order of; and Chapters 15 Murphy, J. J., 233 and 22 Murphy, William, 111 Orange Order, 71–3 Mussolini, Benito, and Yeats’s attraction to Orwell, George, 238, 392 authoritarianism and/or fascism, 58, 191, Ozick, Cynthia, 327 213, 214, 215, 231;andPound,152, 153, 154, 155 Parmenides, 279 mysticism, see occultism Parnell, Charles Stewart, 26, 95, 229, 304, 336 nationalism, causes of, 15; in Yeats’s early work, Pater, Walter, 205, 207, 276, 340, 354–5, 26–7, 28–9; and John F. Taylor, 90;and 356 Dublin, 92; and ‘In the Seven Woods’, 99; Paul, Charles Kegan, 376 and Yeats’s aesthetics, 208–9;andhis Pearse, Padraic, 47, 229, 234, 313 alleged fascism, 213, 216; and folklore, 247; Perl, Jeffrey, 243 and Nietzsche, 269; and the material text, Pethica, James, 374n.13, 403 380; and colonialism, 398; see also Chapter Phidias, 340, 347 17 Phillips, Catherine, 243 Nelson, Vice Admiral Horatio Lord, 95 Picasso, Pablo, 323, 324, 340 Nietzsche, Friedrich, 16, 23, 41, 57, 214, 370; see Plato, and Yeats’s aesthetics, 206;andBeingvs also Chapter 25 Becoming, 276; and Ideal Forms, 281;and Noh drama, 149, 324, 326, 335–6, 337, ‘The Tower’, 283; and the Great Year of 338 Antiquity, 284, 285; and ‘His Bargain’, 286

434 Index

Plotinus, and Yeats’s interest in Indian thought, Russell, George, Yeats quarrels with, 41;and 259, 260; as mediated by occultism, 276; the Irish Statesman, 230, 233;andA Vision, and the Four Principles of A Vision, 281–4; 234; and Yeats’s interest in Indian thought, and the Great Year of Antiquity, 285 258 Plunkett, Joseph Mary, 313 Plutarch, 277 Saddlemyer, Ann, 160 Poel, William, 332 Safire, William, 411, 415n.18 Pollexfen, Elizabeth (nee´ Middleton), 70 Said, Edward, on Yeats’s early poetry, 30, 181;his Pollexfen, Frederick H., 71–2 views of Yeats compared to Seamus Pollexfen, George, and church governance, 21;as Deane’s, 179–80, 182, 191;‘Yeatsand magistrate and High Sheriff, 71;as Decolonization’, 399–400 unionist, 72; and Freemasonry, 73; offers Salahuddin, Ghazi, 411 Yeats a Sligo base, 74, 75; and folklore, Schirmer, Gregory A., 306 76 Schoenberg, Arnold, 326 Pollexfen, William, 70, 71, 74, 227 Schuchard, Ronald, 371 postcolonialism, 30, 91, 302, 307, 398, 399–400; Schwarz, Delmore, 385–6, 390 see also Chapter 17 Scott, A. O., 409 Pound, Ezra, depicts Yeats as having a Dublin Sena, Vinod, 257 accent, 93–4; and George Yeats, 160;and Senate, Yeats’s service in, 59, 95–6, 128, 216, 227, Yeats’s aesthetics, 212; and Yeats’s alleged 230–1 fascism, 216;andthenatureof‘belief’,237; Shakespear, Dorothy, 150, 158 and Yeats’s relationship to modernism, 320, Shakespear, Olivia, has affair with Yeats, 25, 84; 322, 323–6, 328; and Noh drama, 335;and and Pound, 148, 150; and George Yeats, 158, Yeats’s interest in the visual arts, 340, 345, 160; corresponds with Yeats about reading 347; and Yeats’s posthumous reception, 385, material, 358 397; see also Chapter 14 Shannon, Charles, 333, 340, 347, 379 Proclus, 284 Shaw, George Bernard, 81, 330 Purohit, Swami¯ Shri, 241, 254, 258, 259, 260, Shelley, Percy Bysshe, and A Vision, 188;and 262 Yeats’s aesthetics, 203, 204, 206, 208, 210; Pythagoras, 276, 279 and Yeats’s symbolism, 310, 314–18, 390; and Yeats’s creative process, 366 Quinn, Ellen, 54, 55 Shepherd, Oliver, 269 Quinn, John, 114, 266, 365 Simplicius, 284 Sligo (and nearby villages), and Yeats’s relatives’ Raftery, Anthony, 101, 102 involvement in church governance, 20–1; Raine, Kathleen, 238, 256 Yeats encounters ‘a little negro girl’ at Ramazani, Jahan, 342, 400 Rosses Point, 22–3; compared to Dublin or revision (or composition), and Poems (1895), 28; Galway, 89–90, 102, 106; and folklore, 248, of The Wind Among the Reeds, 32;of‘The 251; and Yeats’s fiction, 357; see also Chapter Second Coming’, 51; and John Butler Yeats, 6 115; and Yeats’s aesthetics or artistic Sophocles, 331, 337 development, 204, 322;ofThe King’s Spanish Civil War, 64, 273 Threshold, 209;ofA Vision, 276;of‘The Stanfield, Paul Scott, 177 Sorrow of Love’, 321; see also Chapter 34 Stein, Gertrude, 320, 324, 328 Rhymers’ Club, 27, 28, 81 Steinmann, Martin, 391 Rhys, John, 250, 304 Stendhal, 354, 360 Ricketts, Charles, 333, 340, 347, 379 Stillinger, Jack, 365 Robinson, Lennox, 232 Stuart, Francis, 215 Robinson, Mary, 406 Swedenborg, Emmanuel, 239, 257 Rossetti, Dante Gabriel, and Yeats’s early Swift, Jonathan, and Yeats’s defence of the manner, 320, 342, 343; mediates Yeats’s Anglo-Irish minority, 60, 230; and Yeats’s exposure to Blake, 341; and Yeats’s class politics, 63, 216, 217, 218;andDublin, depictions of women, 342–3 95–6;andThe Words upon the Rossetti, William Michael, 311, 341 Window-Pane, 235; and landscape, 292–3; Ruskin, John, 83, 204 compared to Goldsmith, 294–5;and

Index 435

‘Meditations in Time of Civil War’ and Williams, Raymond, 293 Yeats’s Coole Park poems, 295, 296, 297 Williams, William Carlos, 340 symbolism, and the Rose, 28; and Arthur Wilson, Edmund, 238, 357, 390 Symons, 31; and Thoor Ballylee, 102;and Wilson, F. A. C., 391 Yeats’s early vs later work, 187;andhis Wilson, Penelope, 294 reception by nationalists, 208; and folklore, Winters, Yvor, 238, 391 249; and his interest in the visual arts, Wordsworth, William, 86, 153 343–5, 347; and his posthumous reception, 390; see also Chapter 29 Yeats, Anne Butler, 46, 339 Symons, Arthur, and symbolism, 31, 390;and Yeats, Elizabeth Corbet (‘Lolly’), 341, 379, 381 London, 87; visits Aran with Yeats, 99, 140; Yeats, Georgie (‘George’, nee´ Hyde Lees), her assists Yeats financially, 132; compared to illness during pregnancy, 46, 51; admires de Synge, 141; exposes Yeats to Nietzsche, 266, Valera, 62; and Yeats’s politics, 94, 188;and 275n.2 ‘The Wild Swans at Coole’, 101;and‘A Synge, John Millington, prompts controversies Prayer for my Daughter’, 127;andPound, that influence Yeats, 35, 41, 92, 136, 210, 150, 151; and ‘Under Saturn’, 201;and 229; helps run the Abbey Theatre, 42, 136, occultism, 241; admires William James, 137; influences Yeats 93, 98;and‘The 244; regulates Yeats’s reading, 359;helps Municipal Gallery Re-visited’, 97; advised edit his texts, 403; see also Chapter 15 by Yeats to visit Aran, 99; defended by John Yeats, Jack Butler, 109, 220, 234, 339 Butler Yeats, 117; see also Chapter 13 Yeats, John (1774–1846), 70 Yeats, John Butler; faces financial difficulties, 17, Tate, Allen, 256, 385, 391 71; and religion, 18, 19; and liberalism, 59; Taylor, John F., 90–1, 93, 217 and Sligo, 70;andDublin,90; and Synge, Taylor, Mark, 327 141; and Yeats’s aesthetics, 203, 209;and Tennyson, Alfred, 31, 205, 311, 317–18, 321 occultism, 242; and Yeats’s interest in the theosophy, see Blavatsky, Madame Helena visual arts, 339, 341; and Yeats’s fiction, 357; Petrovna see also Chapter 10 Thoor Ballylee, 94, 98, 101–3, 105, 114, 382 Yeats, John T., 71–2 Tindall, William York, 390 Yeats, Matthew, 20, 71 Todhunter, John, 376 Yeats, Robert Corbet, 22, 23, 112 Toller, Ernst, 222, 337 Yeats, Susan Mary (‘Lily’), 109, 341 Toomey, Deirdre, 39, 111 Yeats, Susan Mary (nee´ Pollexfen), dislikes Torchiana, Donald, 59, 289 Dublin and London, 19–20;andSligo,69, Tucker, Edith Ellen (‘Nelly’), 159 70, 74;andReveries over Childhood and Tynan, Katharine, 84, 376 Youth, 90; and John Butler Yeats, 111, 112, 113; and folklore, 248 Unwin, T. Fisher, 377 Yeats, Thomas, 20, 22, 71, 72 Yeats, William Butler (1806–1862), 15–16, 17, 18 Vendler, Helen, 111, 238, 412 Yeats, William Butler (1865–1939) Vico, Giambattista, 216, 218 Single poems or poetic sequences: Wagner, Richard, 270, 330, 331 ‘Adam’s Curse’, 39, 195, 209, 371, 380 War of Independence, and Yeats’s response to ‘All Souls’ Night’, 240, 242 First World War, 50, 272; and ‘The Second ‘Among School Children’, and aesthetics, 10; Coming’, 52, 53; and Yeats’s and John Butler Yeats, 116; and gender, 195, postcolonialism, 189; and his interest in 198–9; and Indian thought, 261, 263, 264; heroic violence, 273; and his aesthetics, 347 and the visual arts, 347; and Yeats’s Warren, Robert Penn, 390 posthumous reception, 390, 391 Watson, George, 208 ‘Are You Content?’, 77 Wellesley, Dorothy, 219 ‘At Algeciras – a Mediation upon Death’, 77 Whitaker, T. R., 172, 264 ‘At Galway Races’, 368 Wilde, Oscar, and Yeats’s aesthetics or ‘Ballad of Father Gilligan, The’, 251 aestheticism, 27, 205, 269; and London, 81; ‘Ballad of Father O’Hart, The’, 76, 251 and Yeats’s paradoxical thinking, 231 ‘Ballad of Moll Magee, The’, 195, 251

436 Index

Yeats, William Butler (cont.) ‘He gives his Beloved certain Rhymes’, 343 ‘Beautiful Lofty Things’, 117 ‘He tells of the Perfect Beauty’, 343 ‘Black Tower, The’, 65, 385 ‘He thinks of his Past Greatness when a Part ‘Blood and the Moon’, 61, 102, 103, 222, 295 of the Constellations of Heaven’, 37 ‘Bronze Head, A’, 119–20, 347, 349 ‘He wishes for the Cloths of Heaven’, 32–3, ‘Byzantium’, and Indian thought, 261, 262; 125, 407 composition of, 367; and ‘Sailing to ‘Her Praise’, 126 Byzantium’, 383; and the New Critics, 390, ‘His Bargain’, 286 391 ‘Host of the Air, The’, 76 ‘Chosen’, 241, 276, 286 ‘Hosting of the Sidhe, The’, 31–2, 76, 342 ‘Circus Animals’ Desertion, The’, 210, 378 ‘[I walked among the seven woods of Coole]’, ‘Cloak, the Boat, and the Shoes’ (‘Voices’), 99 248 ‘Image from a Past Life, An’, 52 ‘Coat, A’, 44, 197 ‘Indian to his Love, The’, 206 ‘Coole and Ballylee, 1931’, 101, 105, 295, 296–7 ‘Indian upon God, The’, 206 ‘Coole Park, 1929’, 103–5, 133, 145, 295, 296–7, ‘In Memory of Alfred Pollexfen’, 73, 77, 230 368 ‘In Memory of Eva Gore-Booth and Con ‘Crazy Jane Talks with the Bishop’, 202, 210 Markievicz’, 77 ‘Cuchulain’s Fight with the Sea’ (‘The Death ‘In Memory of Major Robert Gregory’, 50, of Cuchullin’), 377 102, 145, 272 ‘Curse of Cromwell, The’, 307 ‘In the Seven Woods’, 99–100, 372, 380–1 ‘Death’, 61 ‘Irish Airman foresees his Death, An’, 50, 171, ‘Delphic Oracle upon Plotinus, The’, 276, 272, 408 283–4 ‘Lake Isle of Innisfree, The’, exempliﬁes ‘DialogueofSelfandSoul,A’,102, 261, 365 Yeats’s early manner, 30–1;andSligo,76; ‘Dolls, The’, 197 and London, 86, 87;andDublin,89; ‘Double Vision of Michael Robartes, The’, mocked by Pound, 324; and the visual arts, 199–200, 277 345;andThe Countess Kathleen and Various ‘Down by the Salley Gardens’, 76 Legends and Lyrics, 378;andClint ‘Dream of Death, A’, 38 Eastwood’s Million Dollar Baby, 409–10 ‘Easter, 1916’, and First World War, 48–9, 82; ‘Lamentation of the Old Pensioner, The’, 370 and the War of Independence, 52;and ‘Lapis Lazuli’, 210–11, 273–4, 347, 349 Constance Markievicz, 77, 127;and ‘Leda and the Swan’, and ‘The Wild Swans at Dublin, 94; and ‘The Wild Swans at Coole’, 101; and motherhood, 197–8;and Coole’, 101; and ‘Coole Park, 1929’, 104, fascism, 215; Catholic response to, 231;and 105; and ‘The Tower’, 185;and Nietzsche, 273; and the visual arts, 349, 350 motherhood, 195–6; and Protestantism, ‘Lover tells of the Rose in his Heart, The’, 32 229; and Nietzsche, 272;andThomas ‘Mad as the Mist and Snow’, 202 Davis, 305; analysed by Richard Kearney, ‘Magi, The’, 197, 240 398 ‘Man and the Echo’, 1, 77, 185, 271 ‘Ego Dominus Tuus’, 102 ‘Man who dreamed of Faeryland, The’, 76, ‘Fascination of What’s Difﬁcult, The’, 92, 366 378 ‘Fergus and the Druid’, 308 ‘Man Young and Old, A’, 383 ‘Fiddler of Dooney, The’, 76 ‘Mask, The’, 334, 366 ‘Fragments’, 164 ‘Meditation in Time of War, A’, 53 ‘Friend’s Illness, A’, 368 ‘Meditations in Time of Civil War’, and the ‘[friends that have it I do wrong, The]’, 322, Civil War, 55;andDublin,95; and Thoor 369 Ballylee, 102, 103; and aesthetics, 210;and ‘From “Oedipus at Colonus”’, 383 Nietzsche, 273; and Swift, Berkeley, ‘From the “Antigone”’, 383 Goldsmith, and Burke, 295–6 ‘Gift of Harun Al-Rashid, The’, 159, 383 ‘Meru’, 274 ‘Gratitude to the Unknown Instructors’, 164 ‘Michael Robartes and the Dancer’, 200–1, ‘Gyres, The’, 173 349, 350 ‘He bids his Beloved be at Peace’ (‘Michael ‘Momentary Thoughts’, 368 Robartes bids his Beloved be at Peace’), 306 ‘Mother of God, The’, 198, 317

Index 437

‘Mourn – And Then Onward!’, 304 ‘Song of the Happy Shepherd, The’ (‘Song of ‘Municipal Gallery Re-visited, The’, and the Last Arcadian’), 205, 377 Kevin O’Higgins, 61;andDublin,96–7; ‘Song of the Old Mother, The’, 195 and Lady Gregory, 137; and Synge, 145;and ‘Song of Wandering Aengus, The’, 33, 307, the visual arts, 339, 349, 350 345, 408 ‘Nineteen Hundred and Nineteen’, and the ‘Sorrow of Love, The’, 320–2, 323 War of Independence, 54; and the Civil ‘Spur, The’, 386 War, 55; and the demise of liberalism or rise ‘Statesman’s Holiday, The’, 64 of fascism, 58, 214, 215; and the visual arts, ‘Statues, The’, 173, 261, 264, 284, 347 347 ‘Stolen Child, The’, 76, 251 ‘No Second Troy’, 43, 92–3 ‘Street Dancers’, 86–7 ‘On a Political Prisoner’, 49, 53, 77, 127, ‘Supernatural Songs’, 60, 241, 259, 260 400 ‘Swift’s Epitaph’, 96 ‘On hearing that the Students of our New ‘These are the Clouds’, 368, 369 University have joined the Agitation ‘Those Dancing Days are Gone’, 201 against Immoral Literature’, 93 ‘Three Songs to the One Burden’, 77 ‘Pardon, Old Fathers’, 169, 171, 173 ‘Three Songs to the Same Tune’, 219 ‘Parnell’s Funeral’, 61, 63, 64, 219, 304 ‘To a Wealthy Man who promised a second ‘Peace’, 43 Subscription to the Dublin Municipal ‘Peacock, The’, 93 Gallery if it were proved the People wanted ‘People, The’, 92, 126 Pictures’, 44, 93 ‘Phases of the Moon, The’, 102, 277 ‘To Ireland in the Coming Times’ (‘Apologia ‘Politics’, 213, 214 addressed to Ireland in the coming days’), ‘Prayer for my Daughter, A’, 111, 127–8, 200, 29–30, 33, 124–5, 128, 172, 378 201, 400 ‘To the Rose upon the Rood of Time’, 28, ‘Prayer on going into my House, A’, 102 207, 378 ‘Priest and the Fairy, The’, 248 ‘Towards Break of Day’, 53, 77 ‘Protestants’ Leap, The’, 303 ‘Tower, The’, and Anglo-Ireland, 60;and ‘Reconciliation’, 43, 323–4, 326 Sligo, 77; and Thoor Ballylee, 101, 102; ‘Reprisals’, 50, 53–4 written from a postcolonial vantage point, ‘Rose of Battle, The’, 119 184–6, 188–90; and occultism, 240;and ‘Rose of the World, The’, 313–14, 317 classical philosophy, 283 ‘Rose Tree, The’, 52, 234, 313 ‘Two Titans, The’, 377 ‘Sailing to Byzantium’, and Yeats’s early ‘Two Years Later’, 44 aestheticism, 32, 33; and the Irish Free ‘Under Ben Bulben’, and Sligo, 77–8;and State, 182–4; and Indian thought, 258, 262, eugenics, 173, 175;andIrishpoetry,305, 263; and the visual arts, 347, 349, 350;and 308, 309; and the visual arts, 349;Auden’s ‘Byzantium’, 383; and the New Critics, 390 critique of, 386 ‘Saint and the Hunchback, The’, 272–3 ‘Under Saturn’, 77, 201, 293 ‘Second Coming, The’, and First World War, ‘Upon a House shaken by the Land the Russian Revolution, and the War of Agitation’, 368 Independence, 51–2; and fascism, 214;and ‘Valley of the Black Pig, The’, 76, 251, 304, belief, 241; and Nietzsche, 273;and 306 modernism, 327–8; composition of, 365; ‘Wanderings of Oisin, The’, and aesthetics, Ted Hughes admires, 388; and popular 205; and the material text, 377, 378, 383; culture, 407, 410, 414 Ted Hughes admires, 388 ‘Secret Rose, The’, 316–17 ‘White Birds, The’, 33 ‘September 1913’, and Dublin, 92, 94;and ‘Who goes with Fergus?’, 308 class, 169, 171; and ‘The Tower’, 185;and ‘Wild Swans at Coole, The’, 100–1, 413 Catholic Ireland, 229; and Nietzsche, 272; ‘Woman Young and Old, A’, 383 and the material text, 381–2 ‘Words for Music Perhaps’, 60 ‘Sixteen Dead Men’, 229, 272 ‘Solomon and the Witch’, 164 Plays: ‘Solomon to Sheba’, 164 At the Hawk’s Well, 82, 324, 325, 326, 336 ‘Song of the Fairies’, 248 Calvary, 215, 236, 336

438 Index

Yeats, William Butler (cont.) ‘Rose, The’, 28–31, 306, 313, 372, 378, 382 Cathleen ni Houlihan, and ‘Coole Park, 1929’, Seven Poems and a Fragment, 383 104; acted by Maud Gonne, 122, 126, 342; Tower, The, 182, 186, 254, 295, 371, 382–3 co-written by Lady Gregory, 134;and Wanderings of Oisin and Other Poems, The, 28, nationalism, 183; and Nietzsche, 270–1;and 372, 377, 378 Thomas Davis, 302; and Yeats’s Wheels and Butterﬂies, 64, 289 posthumous reception, 398, 401 Wild Swans at Coole, The, 50, 371 Countess Cathleen, The, 25, 40, 221, 370, Wind Among the Reeds, The, 25, 31–3, 44, 316, 377–8 322, 371–2 Country of the Young, The, 135 Winding Stair, The (1929), 383 Death of Cuchulain, The, 267, 269, 337–8 Winding Stair and Other Poems, The (1933), Deirdre, 40, 331, 334 105, 198, 295, 326, 382–3 Dreaming of the Bones, The, 96, 271, 336 Words for Music Perhaps, 383 Fighting the Waves, 337 Full Moon in March, A, 337 Collected editions: Herne’s Egg, The, 259–60, 309, 331, 337 Collected Plays, The (1934), 370 Hour-Glass, The, 242–3, 331, 333, 334 Collected Poems, The (1933), 370, 383, 388, 403 Island of Statues, The, 377 Collected Poems, The (1950), 387 King of the Great Clock Tower, The, 337 Collected Works in Verse and Prose, 322, 368, King’s Threshold, The, 40, 41, 175, 209 369, 370, 373 Land of Heart’s Desire, The, 251 Edition de Luxe [unpublished], 370, 383 On Baile’s Strand, and Maud Gonne, 40; Later Poems, 370 revision of, 41; and eugenics, 175;and Poems (1895), consolidates Yeats’s early Nietzsche, 267; and Yeats’s development as achievements, 25, 27; and ‘The Rose’, 30; playwright, 331;andGordonCraig,334 reviewed in France, 33; and revision, 370, Only Jealousy of Emer, The, 159, 277, 336 372; and the material text, 378–9, 382 Player Queen, The, 334 Poems (1949), 383 Pot of Broth, The, 134 Poems, 1899–1905, 370, 372 Purgatory, and Robert Corbet Yeats’s death, Poems: A New Edition, The (1983), 374n.16, 22;andDublin,96; and eugenics, 174, 177; 383, 403 and Nietzsche, 271;andBurke,291–2;and Poetical Works of William B. Yeats, The, 370, Sophocles, 337 371 Resurrection, The, 271, 285, 337 Scribner edition [unpublished], 383 Shadowy Waters, The, 41, 99, 331 Variorum Edition of the Poems, The, 373, 383 Sophocles’ Oedipus at Colonus, 267, 268 Yeats’s Poems, 383, 403 Unicorn From the Stars, The, 135 Where There Is Nothing, 40, 135, 174, 175, 209 Other works (e.g., ﬁction, Words upon the Window-Pane, The, and the autobiographical and critical writings, Corbet family, 22; and Swift, 63, 217, 294; folklore collections, occult treatises, and Dublin, 96, 235; and religion, 235;and editions of other writers’ works): Plotinus, 282; and formal experimentation, ‘Adoration of the Magi, The’, 91, 196, 251, 359 337 ‘Art and Ideas’, 347 Autobiographies, 186 Volumes of poems and/or plays: ‘Autumn of the Flesh, The’ (or ‘The Autumn Cat and the Moon and Certain Poems, The, 383 of the Body’), 31 Countess Kathleen and Various Legends and ‘Away’, 252–3 Lyrics, The, 28, 320, 372, 377–8 Book of Irish Verse, A, 25 ‘Crossways’, 28, 195, 372, 378–9, 382 ‘Broken Gates of Death, The’, 252–3 Four Plays for Dancers, 336 Celtic Twilight, The,andSligo,76;and Green Helmet and Other Poems, The, 322, 368 occultism, 239, 243, 244; and folklore, In the Seven Woods, 175, 371–2 250–1, 252 Last Poems, 374n.16, 386 ‘Certain Noble Plays of Japan’, 325, 335 Michael Robartes and the Dancer, 50, 234, 412 Death of Synge, The, 143–4 October Blast, 383 Dramatis Personae, 98, 113, 131, 135 Responsibilities, 114, 117, 145, 172, 345, 381–2 Estrangement, 117, 143

Index 439

‘Evangel of Folk-Lore, The’, 19 Reveries over Childhood and Youth, as selective Fairy and Folk Tales of the Irish Peasantry, 76, or ﬁctionalized, 15, 22, 23, 47;andSligo, 249–50, 252 69, 74–5;andDublin,90; and John Butler ‘Galway Plains, The’, 102 Yeats, 109, 112, 113, 114, 116 ‘General Introduction For My Work, A’ 97, ‘Rosa Alchemica’, 209, 355 207, 211, 220 Secret Rose, The, 25, 251–2, 254 ‘Hopes and Fears for Irish Literature’, Speckled Bird, The, 175, 238, 357 208–9 ‘Swedenborg, Mediums, and the Desolate ‘If I Were Four-and-Twenty’, 51, 57, 63, 104, Places’, 82, 253 214 ‘Symbolic Artist and the Coming of Symbolic ‘Introduction to The Holy Mountain’, Art, A’, 343 261 ‘Symbolism in Painting’, 343–5 ‘Ireland and the Arts’, 209, 269 ‘Symbolism of Poetry, The’, 343, 345, 390 ‘Ireland Bewitched’, 252–3 ‘Tables of the Law, The’, 91, 251, 359 ‘Irish Witch Doctors’, 252–3 ‘Theatre, The’, 269 ‘J. M. Synge and the Ireland of His Time’, 44, Trembling of the Veil, The, 81, 87, 113 144–5 ‘Tribes of Danu, The’, 252–3 John Sherman, 75, 85–6, 87, 357, Vision, A, and fascism, 64, 214, 215, 219;and 377 ‘Easter, 1916’, 94; and John Butler Yeats, ‘Need for Audacity of Thought, The’, 115; and Synge, 145;andPound,150, 151, 235 154; and George Yeats, 160, 163, 164, 165; On the Boiler, and race, 22, 23; and eugenics, and nationalism, 186, 188; and organized 65, 173–4, 177; contrasted to Yeats’s religion, 228, 234; and occultism, 237, 238, correspondence, 222 241, 242; and folklore, 254; and Indian Oxford Book of Modern Verse, The, 27, 233, thought, 258–9, 260, 261; and classical 320, 358, 387 philosophy, 276, 277–86; and Blake, 312; Per Amica Silentia Lunae, and the mask, 48, and the visual arts, 347, 349; and Yeats’s 49;andPound,149; and gender, 194;and posthumous reception, 391, 392 folklore, 254; and classical philosophy, 276, ‘William Blake and His Illustrations to the 277 Divine Comedy’, 343 ‘Philosophy of Shelley’s Poetry, The’, 315 ‘Witches and Wizards and Irish Folk-Lore’, ‘Poetry and Tradition’, 99 253 Preface to Lady Gregory’s Gods and Fighting Works of William Blake, 310, 341 Men, 175–6 ‘Prisoners of the Gods, The’, 252–3 Zabel, Morton, 386