Download Yeats’s Poetry and Poetics by Michael J. Sidnell (auth.) PDF

By Michael J. Sidnell (auth.)

Yeats's Poetry and Poetics brings jointly a few of the most interesting Yeats feedback ever released, including a few new items in particular written for this quantity. Spanning the complete of Yeats's occupation, the essays are organised into 3 major components. the 1st bargains with Yeats's predicament with the conversing voice and its relating private and non-private readings of his verse; and on his use of convinced varieties of photographs in his poetry and performs, from ghosts and fairies, to figures borrowed from painters and sculptors and, terribly, to the particular dancer for whom he makes room in his paintings. the second one part places Yeats's poetry in context with the paintings of Synge, D.H. Lawrence, Walter de l. a. Mare and different 'Georgians', and with that of T.S. Eliot and different modernists; assessing the continuities (real and asserted) in Yeats's lengthy poetic profession opposed to the revolutions within the poetry of his time. The profound connections among the writings of Yeats and Joyce, together with the coupling of Finnegans's Wake and 'The Wanderings of Oisin' also are tested. Rounding off the quantity 'Phantasmagoria', explores the results for his poetics of Yeats's spiritualist philosophy, specially when it comes to his notion of the poetic self, and, eventually, the final part analyses works lively through Yeats's quest for the 'faery bride' and his determined try to allure, via his paintings, a true one.

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Additional info for Yeats’s Poetry and Poetics

Sample text

Since this is too egotistically sublime, we have to find other ways of accounting for how poems may be heard. A poet who had incisive things to say about this was Paul Valery, whose opinions were informed by his collaboration in the per- 'Written Speech' 31 formance of verse with the singer Mme. Croiza. These experiments of the mid-twenties are reminiscent of those that Yeats and Florence Farr had conducted some twenty-five years earlier. Valery had definite views, not remote from Yeats's, about how verse should be spoken - beginning from music and working down towards speech - but didn't suppose that there could be any agreement about it.

Written Speech' 23 Much of Yeats's admiration for W. E. Henley, John O'Leary, Bernard Shaw and Oscar Wilde - to say nothing of his natural father - was founded on their authority as conversationalists and speakers and all were, to some degree, models for him in this respect. Nor should one forget the importance of Lady Gregory and Maud Gonne, as respectively conversationalist and orator; though it would appear that Yeats's admiration for Maud Gonne as a public figure was more for her physical presence than her oratory, and that he did not - confessedly, at least - take Lady Gregory as a model.

Yeats's adaptation of his poetry to the ear inscribes a particular voice rather than dramatized voices of various characters such as, to take named examples, Crazy Jane or John Kinsella. Yeats doesn't 'do the police in different voices'J9 but projects a controlling, vocalized personality, who plays all the parts and preempts any performer's voice also. So, paradoxically enough, the inscription of personalized speech, which is a key poetic function in Yeats's lyric poetry, makes for difficulties in reciting it, if for no other reason than that reciters, too, have their own styles and can't imitate another without shifting the mode of performance from recitation to dramatic acting.

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