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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. The work must be attributed to the respective authors (but not in any way that suggests that they endorse you or your use of the work). Details of allowances and restrictions are available at: http://creativecommons.org/licenses/by/3.0/ Please see List of Illustrations for copyright relating to individual images. As with all Open Book Publishers titles, digital material and resources associated with this volume are available from our website at: http://www.openbookpublishers.com/product/194/ ISBN Hardback: 978-1-909254-36-7 ISBN Paperback: 978-1-909254-35-0 ISBN Digital (PDF): 978-1-909254-37-4 ISBN Digital ebook (epub): 978-1-909254-38-1 ISBN Digital ebook (mobi): 978-1-909254-39-8 Series ISSN: 0278-7687 DOI: 10.11647/OBP.0028 Cover image: Thomas Sturge Moore’s cover for The Tower (1928), Private Collection, London. The Yeats Annual fleuron (cover and half-title) is based upon Thomas Sturge Moore’s rose design, as used in his illustrations for H. P. R. Finberg’s translation of Count de 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 Per Amica Silentia Lunae (1917), courtesy of the late Riette Sturge Moore. All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), and PEFC (Programme for the Endorsement of Forest Certification Schemes) Certified. Printed in the United Kingdom and United States by Lightning Source for Open Book Publishers IN MEMORIAM A. Norman Jeffares 11 August 1920-1 June 2005 Contents List of Illustrations x Abbreviations xii Editorial Board xix Notes on the Contributors xx Editor’s Introduction xxv Acknowledgements and Editorial Information xxx ESSAYS IN MEMORY OF A NORMAN JEFFARES Professor Alexander Norman Jeffares 11 August 1920-1 June 2005 CHRISTOPHER RUSH 3 From the Window of the House SEAMUS HEANEY 11 Lips and Ships, Peers and Tears: Lacrimae Rerum and Tragic Joy: WARWICK GOULD 15 Yeats and the Colours of Poetry TERENCE BROWN 57 Yeats’s Shakespeare: ‘There is a Good Deal of my Father in it’ DENIS DONOGHUE 69 What Raftery Built JOSEPH M. HASSETT 97 A Portrait of George Yeats ANN SADDLEMYER 107 vii viii Contents The Tower: Yeats’s Anti-Modernist Monument RONALD SCHUCHARD 121 Vacillation: Between What and What? HELEN VENDLER 151 W. B. Yeats and the Creative Process: The Example of ‘Her Triumph’ PHILLIP L. MARCUS 169 The Cold Heaven DEIRDRE TOOMEY 191 Question Me Again: Reflections of W. B. Yeats and Seamus Heaney NEIL CORCORAN 215 A Select Checklist of the Writings of Alexander Norman Jeffares (1920-2005) COLIN SMYTHE 239 ‘MASTERING WHAT IS MOST ABSTRACT’: A FORUM ON A VISION A Vision (1925): A Review Essay NEIL MANN 265 Yeats and the New Physics MATTHEW M. DeFORREST 297 REVIEWS ‘A Law Indifferent to Blame or Praise’: W. B. Yeats, The Tower (1928): Manuscript Materials, edited by Richard J. Finneran, with Jared Curtis and Ann Saddlemyer WAYNE K. CHAPMAN 315 Denis Donoghue, On Eloquence SANDRA CLARK 325 YEATS ANNUAL 18 ix Nicholas Grene, Yeats’s Poetic Codes JOSEPH M. HASSETT 327 W. B. Yeats, The King of the Great Clock Tower and A Full Moon in March: Manuscript Materials, edited by Richard Allen Cave NICHOLAS GRENE 331 Helen Vendler, Our Secret Discipline: Yeats and Lyric Form DENIS DONOGHUE 335 Ronald Schuchard, The Last Minstrels: Yeats and the Revival of the Bardic Arts MATTHEW CAMPBELL 345 Fiorenzo Fantaccini, W. B. Yeats e la cultura italiana K. P. S. JOCHUM 351 Margaret Mills Harper, Wisdom of Two: The Spiritual and Literary Collaboration of George and W. B. Yeats DENIS DONOGHUE 359 PUBLICATIONS RECEIVED 365 List of Illustrations Cover Image: Thomas Sturge Moore’s cover for The Tower (1928), Private Collection, London. The Yeats Annual fleuron (cover and half-title) is based upon Thomas Sturge Moore’s rose design, as used in his illustrations for H. P. R. Finberg’s translation of Count de 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 (1917), courtesy of the late Riette Sturge Moore. Frontispiece: Derry Jeffares beside the Edmund Dulac memorial stone to W. B. Yeats, Roquebrune Cemetery, France, 1986. Private Collection. Plates 1. Between pp. 25-26, Yeats’s holograph revision to ‘The Sorrow of Love’ tipped in to Lady Gregory’s copy of Poems (1895) and misdat- ed, probably by her, in the Robert W. Woodruff Collection, Emory University, Atlanta, GA. 2. Between pp. 25-26, Yeats’s holograph revision in another of Lady Gregory’s copies of Poems, that of 1904, also now in the Woodruff Collection at Emory and altered in 1924 as marked in pencil. This slip is pasted onto a torn-off printed slip bearing a part of line 10, almost certainly from an uncorrected proof of Early Poems and Stories (1925). 3. Between pp. 25-26, top board of Lady Gregory’s white and gold copy of Poems (1904) now in the Robert W. Woodruff Collection, Emory. 4. Between pp. 25-26, close-up of the tipped-in revisions in Plates 1 and 2. 5. Facing p. 40, W. B. Y. listening to Homer’, undated (c. 1887), by Jack B. Yeats, pasted into a copy of The Wind Among the Reeds (1900), in the Woodruff Collection, Emory. 6. Facing p. 45, Yeats’s holograph revisions in the setting copy of ‘The Adoration of the Magi’ for Early Poems and Stories (1925). Berg Collection, New York Public Library. 7. Facing p. 105, Thoor Ballylee, cottage in ruin, river and bridge, a pen and ink drawing by A. Norman Jeffares, 17 x 22.5 cm, private collec- tion. This drawing was the basis of a chapter tailpiece vignette in W. B. Yeats: Man and Poet (London: Routledge, 1949). 8. Facing p. 108, ‘Mrs W. B. Yeats’, by Edmund Dulac, exhibited at the Leicester Galleries, London, June 1920, in the possession of the Yeats family, photograph by Nicola Gordon Bowe. All Dulac images © x YEATS ANNUAL 18 xi Marcia Geraldine Anderson, courtesy Hodder and Stoughton Ltd. 9. Between pp. 108-09, Robert Gregory’s design of the ‘Charging Unicorn’ first used on the title-page of Discoveries (1907). Private Collection. 10. Between pp. 108-09, Gustave Moreau, ‘Les Licornes’ (c. 1885), an unfinished oil on canvas in the Musée Gustave Moreau, Paris, and based on the 15th century tapestries then recently acquired by the Musée de Cluny, Paris (see Plate 12). Photographer unknown. 11. Between pp. 108-09, ‘Monoceros de Astris’ by Thomas Sturge Moore, title-page of Reveries Over Childhood and Youth (1915). Private Collection. 12 Between pp. 108-09, Bookplate for George Yeats by Thomas Sturge Moore, showing a round tower struck by lightning, releasing a white unicorn, Senate House Library, University of London. 13. Between pp. 110-11, Red tapestry, ‘La dame à la licorne’, 15th century, Musée de Cluny, Paris. Photographer unknown, Public Domain. 14. Between pp. 110-11, ‘Deer and Unicorn’ wood-cut from The Book of Lambspring, as reproduced in A. E. Waite’s The Hermetic Museum, Restored and Enlarged (London, James Elliott & Co., 1893). 15. Facing p. 117, Edmund Dulac’s pastel caricature of Yeats, 1915, Abbey Theatre, Dublin, photographer unknown. 16. Facing p. 130, Edmund Dulac’s ‘The Good Chiron Taught His Pupils How to Play upon the Harp’ in Nathaniel Hawthorne’s Tanglewood Tales (London: Hodder & Stoughton, 1918). Private Collection. 17. Between pp. 139-40, Edmund Dulac’s woodcut of a unicorn in A Vision (1925). Private Collection, London. It also appeared on the title-page of Stories of Michael Robartes and his Friends (1932), and in Last Poems and Two Plays (1939). Copies in Private Collection. 18. Between pp. 139-40, Charles Ricketts’s endpapers for the 1920s Macmillan Collected Edition of the Works of W. B. Yeats. Private Collection. 19. Between pp. 139-40, Thomas Sturge Moore’s ‘Candle in Waves’ sigil on the title-page of Michael Robartes and the Dancer (1920).
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