Yeats Library, As Listed in Edward O’Shea’S a Descriptive Catalog of W.B
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Making Their Mark 17
Making Their Mark 17 A CELEBRATION OF GREAT WOMEN ARTISTS Susan Mary "Lily" Yeats, in a 1901 portrait by Photograph of Susan Mary "Lily" Yeats (left) and Elizabeth Corbet "Lolly" Yeats (right). Elizabeth Corbet "Lolly" Yeats, in an 1887 Jack Butler Yeats. National Gallery of Ireland. portrait by Jack Butler Yeats. Sisters Susan Mary "Lily" Yeats (1866-1949, above, left) and Elizabeth Corbet "Lolly" Yeats (1868-1940, above, right) were pivotal figures in the advancement of the Arts and Crafts style in Ireland. Founded in England by the British designer William Morris, the Arts and Crafts Movement advocated traditional, handcrafted objects as a rebellion against soulless factory-made furnishings. The Yeats sisters were from a preeminent Irish family--their father John and brother Jack were noted painters, and their other brother was the renowned poet William Butler Yeats. Born in Enniscrone, County Sligo, Ireland, Lily Yeats was a frequent visitor to William Morris when her family moved to London in the 1870s; she would learn embroidery from his daughter, May Morris. Younger sister Lolly Yeats, also in the Morris circle, was more interested in painting and printing; by the end of the century she had written and illustrated four instructional books on sketching directly with a brush. Upon returning to Ireland, both sisters would co-found the Dun Emer Guild, a Arts and Crafts group in Dublin managed and staffed entirely by women, with the textile designer Evelyn Gleeson (1855-1944). Guilds, as opposed to factories, were a return to the Medieval and Renaissance guilds that once served as the primary centers of art production. -
Jack B. Yeats
JACK B. YEATS Biography 1871 August 29, Jack Butler Yeats born at 23 Fitzroy Road, London, son of John Butler Yeats, artist, and Susan Pollexfen of Sligo 1879 Went to Sligo to live with his grandparents, William and Elizabeth Pollexfen. He went to school there, and stayed with them until 1887 1887 Rejoined his family in London in order to attend art school. His grandmother was strongly in favour of him following a career as an artist. Attended classes at South Kensington School of Art, Chiswick School of Art, Westminster School of Art. Season ticket for the American Exhibition at Earls Court, starring Buffalo Bill 1888 First black and white illustrations accepted for publication in The Vegetarian in April 1891 Illustrating for Ariel and Paddock Life . First book illustrations 1892 Designing posters for David Allen & Sons in Manchester. Illustrated Irish Fairy Tales by his brother W.B.Yeats 1894 Staff Artist on Lika Joko. In August he married Mary Cottenham White, who had been a student with him in Chiswick, and was eight years older that Jack. They rented a house called 'The Chestnuts' on the River Thames, at Chertsey 1895 First exhibited at the Royal Hibernian Academy in Dublin, a watercolour called Strand Races, West of Ireland 1897 Moved to Strete, Devon to live at 'Snail's Castle' (Cashlauna Shelmiddy). Began to concentrate on watercolour painting. Painted his first oil. First one-man show of watercolours in November, at the Clifford Gallery, Haymarket 1898 Jack and Cottie visited Northern Italy, on what seems to have been a belated honeymoon, combined with a celebration of the success of his first solo exhibition the previous year. -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
Imitatio Dantis: Yeats's Infernal Purgatory
Ruttkay díj 2013 Balázs Zsuzsanna Imitatio Dantis: Yeats’s Infernal Purgatory Ille. And did he find himself, Or was the hunger that had made it hollow A hunger for the apple on the bough Most out of reach? and is that spectral image The man that Lapo and Guido knew?1 In theory, there are few things which might be in common between two poets whose poetry could not seemingly be more dissimilar in terms of time, topics, sources and purposes and who are divided from each other by more than six centuries. However, this essay intends to focus on two poets of this kind: the Italian ‘sommo poeta’, Dante Alighieri and the Anglo- Irish symbolist, fin de siècle poet, William Butler Yeats. In fact, their apparent irreconcilability is only the mere surface of the opinion formed on their oeuvres, since Dante did have a significant influence on Yeats whose poetry had two main Dantean decades. The first was characterized by the influence of the Romantics2 and also by the impact of Ezra Pound and T. S. Eliot, while in the second one Yeats managed to create his own interpretation of Dante. Consequently, it is not by accident that “Yeats mentioned Dante over ninety times in his published prose [...] and adapted Dante’s work for parts of at least ten poems, three plays and a story.”3 I chose to draw a parallel between Dante and Yeats because in spite of the fact that they share almost a myriad of common features, this kind of approach to Yeats and his works has been overshadowed by other fascinating topics in which Yeats’s poems and plays abound. -
Yeats's Discoveries of Self in the Wild Swans at Coole
Colby Quarterly Volume 8 Issue 1 March Article 3 March 1968 Yeats's Discoveries of Self in The Wild Swans at Coole James H. O'Brien Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 8, no.1, March 1968, p.1-13 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. O'Brien: Yeats's Discoveries of Self in The Wild Swans at Coole Colby Library Quarterly Series VIII March 1968 No.1 YEATS'S DISCOVERIES OF SELF IN THE WILD SWANS AT COOLE By JAMES H. O'BRIEN lthough a relatively small collection, The Wild Swans at A Coole (191'9) contains a complex presentation of a major theme in Yeats's work-his search for a fusion of the powers of self. From Responsibilities (1914) onwards, Yeats builds his volumes of poems around some crisis of the self. In The Wild Swans at Coole he continues this quest-despite the attrition of age, the death of friends, and the torment of broken memories. Here he binds the poems together with a plan for restoring the maimed powers of self. Frequently The Wild Swans at Coole is singled out for the series of didactic poems at its conclusion, poems that mix occultism with his art. But these concluding poems may be regarded as part of an intricate study of the self: ( 1) the poet's declaration of the plight of an ageing man with waning imaginative powers, (2) his deliberate withdrawal from the modern confusion, (3) his venture into a bewildering but sporadically ecstatic "reliving of the past," and (4) his revela tion of a system encompassing the intensities possible to the self. -
A Book of Irish Verse
A BOOK OF IRISH VERSE W.B. YEATS TO THE MEMBERS OF THE NATIONAL LITERARY SOCIETY OF DUBLIN AND THE IRISH LITERARY SOCIETY OF LONDON PREFACE I HAVE not found it possible to revise this book as completely as I should have wished. I have corrected a bad mistake of a copyist, and added a few pages of new verses towards the end, and softened some phrases in the introduction which seemed a little petulant in form, and written in a few more to describe writers who have appeared during the last four years, and that is about all. I compiled it towards the end of a long indignant argument, carried on in the committee rooms of our literary societies, and in certain newspapers between a few writers of our new movement, who judged Irish literature by literary standards, and a number of people, a few of whom were writers, who judged it by its patriotism and by its political effect; and I hope my opinions may have value as part of an argument which may awaken again. The Young Ireland writers wrote to give the peasantry a literature in English in place of the literature they were losing with Gaelic, and these methods, which have shaped the literary thought of Ireland to our time, could not be the same as the methods of a movement which, so far as it is more than an instinctive expression of certain moods of the soul, endeavours to create a reading class among the more leisured classes, which will preoccupy itself with Ireland and the needs of Ireland. -
Graham, Catherine, February 2006, Keep Rejects
Catherine Graham Collection: February 2006, 1. Krans, Horatio Sheafe, William Butler Yeats and the Irish Literary Revival. London: William Heinemann, 1905. 2. Moore, George, Confessions of a Young Man. London and Toronto: William Heinemann, 1935. 3. Meredith, George, A Reading of Life: With Other Poems. Westminster: Archibald Constable, 1901. 4. Synge, J.M., (Robin Skelton ed.), Some Sonnets from “Laura in Death” after the Italian of Frencesco Petrarch. Dolmen Eds. Dublin: Dolmen Press Ltd., 1971. 5. Skelton, Robin (ed.), The Collected Plays of Jack B. Yeats. Indianapolis and New York: Bobbs-Merrill Co., 1971. 6. Johnston, Denis, The Brazen Horn: A Non-Book for those, who, in revolt today, could be in command tomorrow. Dublin: Dolmen Press, 1976. 7. Skelton, Robin, An Irish Album. Dublin: Dolmen Press, 1969. 8. Montague, John, All Legendary Obstacles. Dublin: Dolmen Press, 1966. 9. Synge, J.M., My Wallet of Photographs. Dublin: Dolmen Press, 1971. 10. Clarke, Austin, Mnemosyne Lay in Dust. Dublin: Dolmen Press, 1966. 11. O’Grady, Desmond, The Gododdin. Dublin: Dolmen Press, 1977. 12. Bickley, Francis, J.M. Synge and the Irish Dramatic Movement. Toronto: Musson Book Co. 13. Horton, W.T. and W.B. Yeats, A Book of Images. London: Unicorn Press, 1898. 14. Yeats, W.B. (ed.), Beltaine: An Occasional Publication. Nos. 1, 2, 3, 1899-1900. London: Sign of the Unicorn, 1900. 15. Poems and Ballads of Young Ireland, 1888. Dublin: M.H. Gill and Son, 1888. 16. Moore, George, Heloise and Abelard. In two volumes, V.I. New York: Boni and Liveright, 1921. 17. Raine, Kathleen, Yeats, The Tarot and the Golden Dawn. -
The Celtic Awakening the Pathos of Distance
The Celtic Awakening The pathos of distance ; a book of a thousand and one moments James Huneker 1913 • IRELAND “ Ireland, oh Ireland ! Centre of my longings. Country of my fathers, home of my heart ! Over seas you call me : Why an exile from me ? Wherefore sea-severed, long leagues apart ? “ As the shining salmon, homeless in the sea depths. Hears the river call him, scents out the land. Leaps and rejoices in the meeting of the waters, Breasts weir and torrent, nests him in the sand ; “ Lives there and loves, yet, with the year’s returning. Rusting in the river, pines for the sea, Sweeps back again to the ripple of the tideway, Roamer of the waters, vagabond and free. “ Wanderer am I like the salmon of the rivers ; London is my ocean, murmurous and deep. Tossing and vast ; yet through the roar of London Comes to me thy summons, calls me in sleep. “ Pearly are the skies in the country of my fathers. Purple are thy mountains, home of my heart. Mother of my yearning, love of all my longings, Keep me in remembrance, long leagues apart.” — Stephen Gwynn. • How dewy is the freshness and exquisite flavour of the newer Celtic poetry, from the more ambitious thunders of its epics to its tenderest lyric leafage ! It has been a veritable renascence. Simultaneously, there burst forth throughout Ireland a trilling of birdlike notes never before heard, and the choir has become more compact and augmented. Fiona Macleod told in luscious, melting prose her haunting tales ; beautiful Dora Sigerson sang of the roses that fade ; Katharine Tynan-Hinkson achieved at a bound the spun sweetness of music in her Larks. -
[Jargon Society]
OCCASIONAL LIST / BOSTON BOOK FAIR / NOV. 13-15, 2009 JAMES S. JAFFE RARE BOOKS 790 Madison Ave, Suite 605 New York, New York 10065 Tel 212-988-8042 Fax 212-988-8044 Email: [email protected] Please visit our website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers These and other books will be available in Booth 314. It is advisable to place any orders during the fair by calling us at 610-637-3531. All books and manuscripts are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. 1. ALGREN, Nelson. Somebody in Boots. 8vo, original terracotta cloth, dust jacket. N.Y.: The Vanguard Press, (1935). First edition of Algren’s rare first book which served as the genesis for A Walk on the Wild Side (1956). Signed by Algren on the title page and additionally inscribed by him at a later date (1978) on the front free endpaper: “For Christine and Robert Liska from Nelson Algren June 1978”. Algren has incorporated a drawing of a cat in his inscription. Nelson Ahlgren Abraham was born in Detroit in 1909, and later adopted a modified form of his Swedish grandfather’s name. He grew up in Chicago, and earned a B.A. in Journalism from the University of Illinois Urbana-Champaign in 1931. In 1933, he moved to Texas to find work, and began his literary career living in a derelict gas station. A short story, “So Help Me”, was accepted by Story magazine and led to an advance of $100.00 for his first book. -
Echoes of the Orient: the Writings of William Quan Judge
ECHOES ORIENTof the VOLUME I The Writings of William Quan Judge Echoes are heard in every age of and their fellow creatures — man and a timeless path that leads to divine beast — out of the thoughtless jog trot wisdom and to knowledge of our pur- of selfish everyday life.” To this end pose in the universal design. Today’s and until he died, Judge wrote about resurgent awareness of our physical the Way spoken of by the sages of old, and spiritual inter dependence on this its signposts and pitfalls, and its rel- grand evolutionary journey affirms evance to the practical affairs of daily those pioneering keynotes set forth in life. HPB called his journal “pure Bud- the writings of H. P. Blavatsky. Her dhi” (awakened insight). task was to re-present the broad This first volume of Echoes of the panorama of the “anciently universal Orient comprises about 170 articles Wisdom-Religion,” to show its under- from The Path magazine, chronologi- lying expression in the world’s myths, cally arranged and supplemented by legends, and spiritual traditions, and his popular “Occult Tales.” A glance to show its scientific basis — with at the contents pages will show the the overarching goal of furthering the wide range of subjects covered. Also cause of universal brotherhood. included are a well-documented 50- Some people, however, have page biography, numerous illustra- found her books diffi cult and ask for tions, photographs, and facsimiles, as something simpler. In the writings of well as a bibliography and index. William Q. Judge, one of the Theosophical Society’s co-founders with HPB and a close personal colleague, many have found a certain William Quan Judge (1851-1896) was human element which, though not born in Dublin, Ireland, and emigrated lacking in HPB’s works, is here more with his family to America in 1864. -
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 -
The Life and Works of Beatrice Elvery, 1881-1920
Nationalism, Motherhood, and Activism: The Life and Works of Beatrice Elvery, 1881-1920 Melissa S. Bowen A Thesis Submitted to the Department of History California State University Bakersfield In Partial Fulfillment of the Requirements for the Degree of Master of Arts in History May 2015 Copyright By Melissa S. Bowen 2015 Acknowledgments I am incredibly grateful for the encouragement and support of Cal State Bakersfield’s History Department faculty, who as a group worked closely with me in preparing me for this fruitful endeavor. I am most grateful to my advisor, Cliona Murphy, whose positive enthusiasm, never- ending generosity, and infinite wisdom on Irish History made this project worthwhile and enjoyable. I would not have been able to put as much primary research into this project as I did without the generous scholarship awarded to me by Cal State Bakersfield’s GRASP office, which allowed me to travel to Ireland and study Beatrice Elvery’s work first hand. I am also grateful to the scholars and professionals who helped me with my research such as Dr. Stephanie Rains, Dr. Nicola Gordon Bowe, and Rector John Tanner. Lastly, my research would not nearly have been as extensive if it were not for my hosts while in Ireland, Brian Murphy, Miriam O’Brien, and Angela Lawlor, who all welcomed me into their homes, filled me with delicious Irish food, and guided me throughout the country during my entire trip. List of Illustrations Sheppard, Oliver. 1908. Roisin Dua. St. Stephen's Green, Dublin. 2 Orpen, R.C. 1908. 1909 Seal. The Royal Institute of the Architects of Ireland, Dublin.