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Yeats's Legacies YEATS’S LEGACIES Yeats Annual No. 21: A Special Issue Edited by WARWICK GOULD 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 THE LIVING STREAM YEATS ANNUAL No. 18: A Special Issue Essays in Memory of A. Norman Jeffares Edited by Warwick Gould Freely available at http://www.openbookpublishers.com/product/194 YEATS’S MASK YEATS ANNUAL No. 19: A Special Issue Edited by Margaret Mills Harper and Warwick Gould Freely available at http://www.openbookpublishers.com/product/233 ESSAYS IN HONOUR OF EAMONN CANTWELL YEATS ANNUAL No. 20: A Special Number Edited by Warwick Gould Freely available at https://www.openbookpublishers.com/product/380 YEATS ANNUAL No. 21 W. B. Yeats in the fin de siècle. The Elliot & Fry image, purchased from an untraced picture archive. From pencilled notes on the verso, the image was copyrighted to Elliot & Fry, and each reproduction incurred a fee of 14/– to the London Electrotype Agency. A fee of that sum had been paid for Richardson, ‘The World Writers’, perhaps a series in an untraced periodical, and the image had been filed with ‘English Portraits of Yeats’. © Private Collection, London, all rights reserved. YEATS’S LEGACIES YEATS ANNUAL No. 21 A Special Issue Edited by Warwick Gould in association with the Institute of English Studies School of Advanced Study, University of London http://www.openbookpublishers.com © 2018 Warwick Gould. Copyright of individual chapters is maintained by the chapters’ authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Warwick Gould (ed.), Yeats’s Legacies: Yeats Annual No. 21. Cambridge, UK: Open Book Publishers, 2018. https://doi.org/10.11647/OBP.0135 In order to access detailed and updated information on the license, please visit https://www. openbookpublishers.com/product/724#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ All the external links were active on 22/03/2018 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. For the full copyright statement relating to each image, please refer to the list of illustrations. Updated digital material and resources associated with this volume are available at https://www. openbookpublishers.com/product/724#resources ISBN Paperback: 978-1-78374-454-1 ISBN Hardback: 978-1-78374-455-8 ISBN Digital (PDF): 978-1-78374-456-5 ISBN Digital ebook (epub): 978-1-78374-457-2 ISBN Digital ebook (mobi): 978-1-78374-458-9 DOI: 10.11647/OBP.0135 Cover image: Yeats Annual Fleuron (Front Cover, Spine, Dedication Page) Based upon Thomas Sturge Moore’s rose design as used in his illustrations for H. P. R. Finberg’s translation of Count Villiers de L’Isle Adam’s Axel with Yeats’s preface (London: Jarrolds Publishers Ltd., 1925), and elsewhere on cover designs for Yeats’s books, most notably that for Per Amica Silentia Lunae (1918), this fleuron was created courtesy of the late Riette Sturge Moore. Front Cover Vignette: The hawk is taken from the top-board of Responsibilities and Other Poems (London: Macmillan, 1916), Private Coll., London, Image Warwick Gould. The design is by Thomas Sturge Moore, showing Yeats’s change of livery when he moved his books to Macmillan as his principal trade publisher. The book was published on 10 October 1916, the same day as that firm issued his Reveries over Childhood and Youth, also with a Sturge Moore cover-design. Cover design: Anna Gatti. All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), PEFC (Programme for the Endorsement of Forest Certification Schemes) and Forest Stewardship Council(r)(FSC(r) certified. Printed in the United Kingdom, United States and Australia by Lightning Source for Open Book Publishers (Cambridge, UK). The Editor dedicates his work on this volume to WILLIAM H. O’DONNELL in gratitude for his meticulous textual scholarship and restless curiosity in annotation Contents List of Illustrations xiii Abbreviations xix Editorial Board xxvii Notes on Contributors xxix Editor’s Introduction xxxv Acknowledgements and Editorial Information lxix ESSAYS How Yeats Learned to Scan HANNAH SULLIVAN 3 EASTER 1916 DENIS DONOGHUE 39 The Invisible Hypnotist: Myth and Spectre in Some Post-1916 Poems and Plays by W. B. Yeats ANITA FELDMAN 63 ‘Satan, Smut & Co.’: Yeats and the Suppression of Evil Literature in the Early Years of the Irish Free State WARWICK GOULD 123 ‘Uttering, mastering it’? Yeats’s Tower, Lady Gregory’s Ballylee, and the Eviction of 1888 JAMES PETHICA 213 Fighting Spirits: W. B. Yeats, Ezra Pound, and the Ghosts of The Winding Stair (1929) LAUREN ARRINGTON 269 W. B. Yeats and the Problem of Belief (with an Afterword, ‘The Centaur and the Daimon’ by WARWICK GOULD) CATHERINE E. PAUL 295 Charles Williams and W. B. Yeats GREVEL LINDOP 317 Shakespeare in Purgatory: ‘A Scene of Tragic Intensity’ STANLEY VAN DER ZIEL 355 The Textual History of Yeats’s On the Boiler WILLIAM H. O’DONNELL 391 RESEARCH UPDATES Maud Gonne’s Fictional Affair: ‘A Life’s Sketch’ Edited and with notes by JOHN KELLY 449 Conflicted Legacies: Yeats’s Intentions and Editorial Theory WARWICK GOULD 479 REVIEW ESSAYS AND REVIEWS ‘Both beautiful, one a gazelle’: An Essay reviewing Sonja Tiernan, Eva Gore-Booth: An Image of Such Politics and Lauren Arrington, Revolutionary Lives: Constance and Casimir Markievicz DEIRDRE TOOMEY 545 W. B. Yeats, On Baile’s Strand: Manuscript Materials, ed. by Jared Curtis and Declan Kiely RICHARD ALLEN CAVE 557 W. David Soud, Divine Cartographies: God, History and Poeisis in W. B. Yeats, David Jones, and T. S. Eliot GREVEL LINDOP 563 Yeats, Philosophy, and the Occult, ed. by Matthew Gibson and Neil Mann R. A. GILBERT 569 Alexander Bubb, Meeting Without Knowing It: Kipling and Yeats at the Fin de Siècle JAD ADAMS 575 Emily C. Bloom, The Wireless past: Anglo-Irish Writers and the BBC, 1931–1968 EMILIE MORIN 579 Ezra Pound, Posthumous Cantos, ed. by Massimo Bacigalupo STODDARD MARTIN 585 Adrian Frazier, The Adulterous Muse: Maud Gonne, Lucien Millevoye and W. B. Yeats with an Afterword by DEIRDRE TOOMEY STODDARD MARTIN 589 Publications Received 599 List of Illustrations Note: All enquiries regarding copyrights in individual plates should be made c/o the editor at [email protected]. Yeats Annual Fleuron (Front Cover, Spine, Dedication Page) Based upon Thomas Sturge Moore’s rose design as used in his illustrations for H. P. R. Finberg’s translation of Count Villiers de L’Isle Adam’s Axel with Yeats’s preface (London: Jarrolds Publishers Ltd., 1925), and elsewhere on cover designs for Yeats’s books, most notably that for Per Amica Silentia Lunae (1918), this fleuron was created courtesy of the late Riette Sturge Moore. Front Cover Vignette: The hawk is taken from the top-board of Responsibilities and Other Poems (London: Macmillan, 1916), Private Coll., London, Image Warwick Gould. The design is by Thomas Sturge Moore, showing Yeats’s change of livery when he moved his books to Macmillan as his principal trade publisher. The book was published on 10 October 1916, the same day as that firm issued his Reveries over Childhood and Youth, also with a Sturge Moore cover-design. Frontispiece W. B. Yeats in the fin de siècle. From pencilled notes on the verso, this hitherto unknown image had been copyrighted to Elliot & Fry, and each reproduction incurred a fee of 14/– to the London Electrotype Agency. A fee of that sum had been paid for Richardson, ‘The World Writers’, perhaps a series in an untraced periodical, and the image had been filed with ‘English Portraits of Yeats’ in some newspaper picture archive. © Private Collection, London, all rights reserved. Plates 1. Yeats family snapshot c. 1927, of Thoor Ballylee and its cottages, taken from the ‘acre of stony ground’ or cabbage patch over the road. Image courtesy Private Collection London. xxxvi 2. Plate 1 cropped to approximate the ‘view’ of the tower and cottages depicted in Plate 3. Image courtesy Private Collection London. xxxvii xiii xiv List of Illustrations 3. The cropped centre panel of Thomas Sturge Moore’s top board for The Tower (1928). Image courtesy Private Collection, London. xxxvii 4. Yeats family heirlooms as clustered by Sotheby’s, London, for the frontispiece of their Yeats: The Family Collection, the catalogue accompanying the sale of that name on 27 September 2017. Image courtesy Philip Errington, and © Sotheby’s, New Bond St., London, all right reserved. xlii 5. Antonio Mancini’s 1908 pastel portrait of W.
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