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For the Harmony of the Race, Each Individual Should Be
http://www.englishworld2011.info/ WILLIAM BUTLER YEATS / 2019 For the harmony of the race, each individual should be the expression of an easy & ample interpenetration of the male & female temperaments—free of stress Woman must become more responsible for the child than man— Women must destroy in themselves, the desire to be loved— The feeling that it is a personal insult when a man transfers his attentions from her to another woman The desire for comfortable protection instead of an intelligent curiosity & courage in meeting & resisting the pressure of life sex or so called love must be reduced to its initial element, honour, grief, sentimentality, pride & consequently jealousy must be detached from it. Woman for her happiness must retain her deceptive fragility of appearance, combined with indomitable will, irreducible courage, & abundant health the outcome of sound nerves— Another great illusion that woman must use all her introspective clear-sightedness & unbiassed bravery to destroy—for the sake of her self respect is the impurity of sex the realisation in defiance of superstition that there is nothing impure in sex—except in the mental attitude to it—will constitute an incalculable & wider social regeneration than it is possible for our generation to imagine. 1914 1982 WILLIAM BUTLER YEATS 1865-1939 William Butler Yeats was born to an Anglo-Irish family in Dublin. His father, J. B. Yeats, had abandoned law to take up painting, at which he made a somewhat precar- ious living. His mother came from the Pollexfen family that lived near Sligo, in the west of Ireland, where Yeats spent much of his childhood. -
W. B. Yeats Selected Poems
W. B. Yeats Selected Poems Compiled by Emma Laybourn 2018 This is a free ebook from www.englishliteratureebooks.com It may be shared or copied for any non-commercial purpose. It may not be sold. Cover picture shows Ben Bulben, County Sligo, Ireland. Contents To return to the Contents list at any time, click on the arrow ↑ before each poem. Introduction From The Wanderings of Oisin and other poems (1889) The Song of the Happy Shepherd The Indian upon God The Indian to his Love The Stolen Child Down by the Salley Gardens The Ballad of Moll Magee The Wanderings of Oisin (extracts) From The Rose (1893) To the Rose upon the Rood of Time Fergus and the Druid The Rose of the World The Rose of Battle A Faery Song The Lake Isle of Innisfree The Sorrow of Love When You are Old Who goes with Fergus? The Man who dreamed of Faeryland The Ballad of Father Gilligan The Two Trees From The Wind Among the Reeds (1899) The Lover tells of the Rose in his Heart The Host of the Air The Unappeasable Host The Song of Wandering Aengus The Lover mourns for the Loss of Love He mourns for the Change that has come upon Him and his Beloved, and longs for the End of the World He remembers Forgotten Beauty The Cap and Bells The Valley of the Black Pig The Secret Rose The Travail of Passion The Poet pleads with the Elemental Powers He wishes his Beloved were Dead He wishes for the Cloths of Heaven From In the Seven Woods (1904) In the Seven Woods The Folly of being Comforted Never Give All the Heart The Withering of the Boughs Adam’s Curse Red Hanrahan’s Song about Ireland -
YEATS ANNUAL No. 18 Frontispiece: Derry Jeffares Beside the Edmund Dulac Memorial Stone to W
To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/194 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. In the same series YEATS ANNUALS Nos. 1, 2 Edited by Richard J. Finneran YEATS ANNUALS Nos. 3-8, 10-11, 13 Edited by Warwick Gould YEATS AND WOMEN: YEATS ANNUAL No. 9: A Special Number Edited by Deirdre Toomey THAT ACCUSING EYE: YEATS AND HIS IRISH READERS YEATS ANNUAL No. 12: A Special Number Edited by Warwick Gould and Edna Longley YEATS AND THE NINETIES YEATS ANNUAL No. 14: A Special Number Edited by Warwick Gould YEATS’S COLLABORATIONS YEATS ANNUAL No. 15: A Special Number Edited by Wayne K. Chapman and Warwick Gould POEMS AND CONTEXTS YEATS ANNUAL No. 16: A Special Number Edited by Warwick Gould INFLUENCE AND CONFLUENCE: YEATS ANNUAL No. 17: A Special Number Edited by Warwick Gould YEATS ANNUAL No. 18 Frontispiece: Derry Jeffares beside the Edmund Dulac memorial stone to W. B. Yeats. Roquebrune Cemetery, France, 1986. Private Collection. THE LIVING STREAM ESSAYS IN MEMORY OF A. NORMAN JEFFARES YEATS ANNUAL No. 18 A Special Issue Edited by Warwick Gould http://www.openbookpublishers.com © 2013 Gould, et al. (contributors retain copyright of their work). The text of this book is licensed under a Creative Commons Attribution 3.0 Unported Licence. This licence allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text. -
Untitled.Pdf
STRUCTURE IN THE COLLECTED POEMS OF W. B. YEATS A Thesis Presented to the School of Graduate Studies Drake University In Partial Fulfil£ment of the Requirements for the Degree Master of Arts in English by Barbara L. Croft August 1970 l- ----'- _ u /970 (~ ~ 7cS"' STRUCTURE IN THE COLLECTED POEMS OF w. B. YEATS by Barbara L. Croft Approved by CGJmmittee: J4 .2fn., k ~~1""-'--- 7~~~ tI It t ,'" '-! -~ " -i L <_ j t , }\\ ) '~'l.p---------"'----------"? - TABLE OF CONTENTS Chapter Page 1. INTRODUCTION ••••• . 1 2. COMPLETE OBJECTIVITY . • • . 23 3. THE DISCOVERY OF STRENGTH •••••••• 41 4. C~1PLETE SUBJECTIVITY •• • • • ••• 55 5. THE BREAKING OF STRENGTH ••••••••• 79 BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • 90 i1 CHAPTER I INTRODUCTION There is, needless to say, an abundance of criticism on W. B. Yeats. Obsessed with the peet's occultism, critics have pursued it to a depth which Yeats, a notedly poor scholar, could never have equalled; nor could he have matched their zeal for his politics. While it is not the purpose here to evaluate or even extensively to examine this criticism, two critics in particular, Richard Ellmann and John Unterecker, will preve especially valuable in this discussion. Ellmann's Yeats: ----The Man and The Masks is essentially a critical biography, Unterecker's ! Reader's Guide l! William Butler Yeats, while it uses biographical material, attempts to fecus upon critical interpretations of particular poems and groups of poems from the Collected Poems. In combination, the work of Ellmann and Unterecker synthesize the poet and his poetry and support the thesis here that the pattern which Yeats saw emerging in his life and which he incorporated in his work is, structurally, the same pattern of a death and rebirth cycle which he explicated in his philosophical book, A Vision. -
Romantic Elements in Yeats's Poetry
Romantic Elements in Yeats’s Poetry The different attempts that has been made to define romanticism have only added to the confusion that has prevailed about the concept of romanticism. However, there is a broad agreement on a common factor that a romantic writer is dissatisfied with the contemporary values of life and escapes into the golden past or the ideal future. He moves into a fantasy world having the values of life cherished by him. Yeats, on this basis, clearly turns out to be a romantic poet. His dissatisfaction with the modern industrial society and the colonial rule over his country drove him to theme of love and beauty, love of folk - lore, simplicity of life away from the complex modern industrial life and a love of music and vague epithets and phrases. His cyclical view of history had convinced him of the impending violence and anarchy and he sought shelter in courtesy, innocence and ceremony and away from intellection. Like most of the romantics, he is concerned with the problem of life art and death. Like them again, he frequently writes about himself in his poetry. Yeats is connected with the last generation of the romantic poets, the members of the Rhymer's Club and poets and painters of the pre-Raphaelite School. His early writings in particular are coloured by this association. His youthful imagination was nourished on the poetry of Shelley. In his day- dreaming he was apt to pose as Manfred, Prince Athanese and Alastor. The early poetry of Yeats has all the characteristics flavour and limitations of the typical romantic verse. -
The Art of William Butler and Jack Yeats. Artsedge Curricula, Lessons and Activities
DOCUMENT RESUME ED 477 330 CS 511 355 AUTHOR Karsten, Jayne TITLE Magic Words, Magic Brush: The Art of William Butler and Jack Yeats. ArtsEdge Curricula, Lessons and Activities. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, DC. SPONS AGENCY National Endowment for the Arts (NFAH), Washington, DC.; MCI WorldCom, Arlington, VA.; Department of Education, Washington, DC. PUB DATE 2002-00-00 NOTE 25p. AVAILABLE FROM For full text: http://artsedge.kennedy-center.org/ teaching_materials/curricula/curricula.cfm?subject_id=LNA. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE EDRS Price MF01/PCO2 Plus Postage. DESCRIPTORS *Art Expression; Class Activities; *Classroom Techniques; *Cultural Context; *Foreign Countries; Interdisciplinary Approach; Learning Activities; *Poetry; Secondary Education; Student Educational Objectives; Teacher Developed Materials; Units of Study IDENTIFIERS Ireland; *Yeats (William Butler) ABSTRACT This curriculum unit, designed for grades 7-12, integrates various artistic disciplines with geography, history, social studies, media, and technology. This unit on William Butler Yeats, the writer, and Jack Yeats, the painter, seeks to immerse students in a study of the brothers as voices of Ireland and as two of the most renowned artists of the late 19th and early 20th centuries. The unit is dedicated also to helping students see how the outlook of an age controls cultural expression, and how this expression is articulated in similar ways throughout genres of art. To help effect these major goals, focus in the unit is placed on: the impact of geography, place, and family on both William Butler Yeats and Jack Yeats; the influence of personalities of the time period on the two artists;. -
The Afterlives of the Irish Literary Revival
The Afterlives of the Irish Literary Revival Author: Dathalinn Mary O'Dea Persistent link: http://hdl.handle.net/2345/bc-ir:104356 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2014 Copyright is held by the author, with all rights reserved, unless otherwise noted. Boston College The Graduate School of Arts and Sciences Department of English THE AFTERLIVES OF THE IRISH LITERARY REVIVAL a dissertation by DATHALINN M. O’DEA submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2014 © copyright by DATHALINN M. O’DEA 2014 Abstract THE AFTERLIVES OF THE IRISH LITERARY REVIVAL Director: Dr. Marjorie Howes, Boston College Readers: Dr. Paige Reynolds, College of the Holy Cross and Dr. Christopher Wilson, Boston College This study examines how Irish and American writing from the early twentieth century demonstrates a continued engagement with the formal, thematic and cultural imperatives of the Irish Literary Revival. It brings together writers and intellectuals from across Ireland and the United States – including James Joyce, George William Russell (Æ), Alice Milligan, Lewis Purcell, Lady Gregory, the Fugitive-Agrarian poets, W. B. Yeats, Harriet Monroe, Alice Corbin Henderson, and Ezra Pound – whose work registers the movement’s impact via imitation, homage, adaptation, appropriation, repudiation or some combination of these practices. Individual chapters read Irish and American writing from the period in the little magazines and literary journals where it first appeared, using these publications to give a material form to the larger, cross-national web of ideas and readers that linked distant regions. -
The Romantic Elements in W. B. Yeats's Poetry
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 1, Ver. 10 (January. 2018) PP 60-66 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org (The Romantic Elements in W. B. Yeats's poetry) Mushtaq Ahmed KadhimAldewan (Department of Science, College of Basic Education / University of Sumer , Country :Iraq ) Corresponding author: Mushtaq Ahmed KadhimAldewan Abstract: This Research primarily focuses on the Romantic Elements for Modernist poet and critic William Butler Yeats‘s poems in order to demonstrate Romanticism‘s contribution to the so called modernist movement in terms of idealism. It begins with a demonstration of Yeats as a representative of Romanticism and the explanation of the crucial Romantic traits. The Romantic features concentrates imagination, emotion, nature and beauty. Then it continues with a revelation of as a Modernist poet who has romantic roots and When we a romantic and modernist . further, it maintains Yeats as a Romantic Modernist as an example to Yeats‘s shinning star among romantic poets. Finally. They have a number of similarities that constitute their basic principles. This research aims to depict that the artists are influenced by the social, political, cultural and economic developments that occur in their time and shape their artistic visions according to their thoughts about the crisis. William Butler Yeats reflects his reaction to his current social problems by protesting the established order and mostly create substitutes for reality which are idealized human beings in order to avoid the effect of time and mortal limitations. In addition to this, he tries to reflect an romantic world to be more active and creative soul, which he cannot achieve to have in the material realm. -
Literary Review
A BIRD’S EYE VIEW: EXPLORING THE BIRD IMAGERY IN THE LYRIC POETRY OF WILLIAM BUTLER YEATS By ERIN ELIZABETH RISNER A Thesis Submitted to the Faculty of the Graduate Studies Division of Ohio Dominican University Columbus, Ohio in partial fulfillment of the requirements for the Degree of MASTERS OF ARTS IN LIBERAL STUDIES MAY 2013 2 CERTIFICATION OF APPROVAL A BIRD’S EYE VIEW: EXPLORING THE BIRD IMAGERY IN THE LYRIC POETRY OF WILLIAM BUTLER YEATS By ERIN ELIZABETH RISNER Thesis Approved: _______________________________ ______________ Dr. Ronald W. Carstens, Ph.D. Date Professor of Political Science Chair, Liberal Studies Program ________________________________ ______________ Dr. Martin R. Brick, Ph.D. Date Assistant Professor of English _________________________________ ______________ Dr. Ann C. Hall, Ph. D. Date Professor of English 3 ACKNOWLEDGEMENTS I wish to express my appreciation to Dr. Martin Brick for all of his help and patience during this long, but rewarding, process. I also wish to thank Dr. Ann Hall for her final suggestions on this thesis and her Irish literature class two years ago that began this journey. A special thank you to Dr. Ron Carstens for his final review of this thesis and guidance through Ohio Dominican University’s MALS program. I must also give thanks to Dr. Beth Sutton-Ramspeck, who has guided me through academia since English Honors my freshman year at OSU-Lima. Final acknowledgements go to my family and friends. To my husband, Axle, thank you for all of your love and support the past three years. To my parents, Bob and Liz, I am the person I am today because of you. -
Irish Divorce/Joyce's
Irish Divorce/Joyce’s Ulysses Irish Divorce/ Joyce’s Ulysses Peter Kuch Peter Kuch University of Otago Dunedin, New Zealand ISBN 978-1-349-95187-1 ISBN 978-1-137-57186-1 (eBook) DOI 10.1057/978-1-137-57186-1 Library of Congress Control Number: 2017939123 © The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institu- tional affiliations. Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Nature America Inc. -
Field Day Revisited (II): an Interview with Declan Kiberd1
Concentric: Literary and Cultural Studies 33.2 September 2007: 203-35 Field Day Revisited (II): An Interview with Declan Kiberd1 Yu-chen Lin National Sun Yat-sen University Abstract Intended to address the colonial crisis in Northern Ireland, the Field Day Theatre Company was one of the most influential, albeit controversial, cultural forces in Ireland in the 1980’s. The central idea for the company was a touring theatre group pivoting around Brian Friel; publications, for which Seamus Deane was responsible, were also included in its agenda. As such it was greeted by advocates as a major decolonizing project harking back to the Irish Revivals of the late nineteenth and early twentieth centuries. Its detractors, however, saw it as a reactionary entity intent on reactivating the same tired old “Irish Question.” Other than these harsh critiques, Field Day had to deal with internal divisions, which led to Friel’s resignation in 1994 and the termination of theatre productions in 1998. Meanwhile, Seamus Deane persevered with the publication enterprise under the company imprint, and planned to revive Field Day in Dublin. The general consensus, however, is that Field Day no longer exists. In view of this discrepancy, I interviewed Seamus Deane and Declan Kiberd to track the company’s present operation and attempt to negotiate among the diverse interpretations of Field Day. In Part One of this transcription, Seamus Deane provides an insider’s view of the aspirations, operation, and dilemma of Field Day, past and present. By contrast, Declan Kiberd in Part Two reconfigures Field Day as both a regional and an international movement which anticipated the peace process beginning in the mid-1990’s, and also the general ethos of self-confidence in Ireland today. -
Intersections Between Sound, Self, and Nation in the Poetry of Yeats Co
1 Hybrid rhythms, antithetical echoes, and autopoiesis: Intersections between sound, self, and nation in the poetry of Yeats Connor Stratton Candidate for Honors in English DeSales Harrison, Thesis Advisor Spring 2013 2 So many thanks to my advisor, DeSales Harrison, for his generosity and direction every step of the way. 3 Introduction Between extremities Man runs his course; A brand, or flaming breath… —“Vacillations” Sounds A poem, too, vacillates “between extremities”: between eye and ear, page and voice, “brand” and “flaming breath.” It lives itself liminally between writing and speech, reading and listening. While the Odyssey or the Ramayana represent the extreme of the oral tradition, and Eugen Gomringer’s Silencio or ee cumming’s [the(oo)is] suggest visual or graphic hyperbole, most poems exhale somewhere in the middle. Yet, despite this prevalent vacillation, current critical attention on poetry’s aural features and possibilities is scant. Marjorie Perloff, in her introduction to The Sound of Poetry / The Poetry of Sound, remarks: … however central the sound dimension to any and all poetry, no other poetic feature is currently as neglected. Indeed, the discourse on poetry today, largely fixated as it is on what a given poem or set of poems ostensibly “says,” regards the sound structure in question … as little more than a peripheral issue, a kind of sideline (1-2). The collection of essays that follow in The Sound of Poetry all constitute their own intervention to this “neglected” area of study, and all privilege sound as its root of inquiry. It is in the spirit of these essays that I make my own intervention.