This specific ISBN edition is currently not available.View all copies of this ISBN edition:
This collection of 354 assessments makes available to the student of Yeats the best that has been written about Ireland's greatest poet. Volume I arranged chronologically, gathers together the first reviews of Yeats's writings from Mosada in 1886 to the first volume of Collected Letters in 1986. Also included are over twenty reviews of productions of Yeats's plays from Cathleen ni Houlihan in Dublin in 1902 to the Yeats Theatre Festival in Dublin in 1991 Volume II which reproduces many of the the orbituary notices and memoirs from the period surrounding his death in 1939, contains 83 critical assessments of Yeats from 1889 to 1991 Volume III covering the period 1960 - 1979, includes twelve extracts published in Yeats's centenary year 1965. Volume IV comprising 155 extracts from 1980 to 2000, provides the fullest and most up to date survey of contemporary criticism of Yeats.
"synopsis" may belong to another edition of this title.
William Butler Yeats has been at the centre of critical attention for over a hundred years. Motivated by an ambition to make, and then, to remake himself as an author. Yeats has attracted generations of admirers and critics keen to understand and reflect on his achievement. Because he never stood still and because he seemed sure of his direction, Yeats not only survived, but he also managed the more difficult task of adapting to major changes in cultural climate. His influence on later poets and critics has been equally impressive and at times unexpected.
For contemporary Irish poets, Yeats is a father-figure, a challenge, a stumbling-block, an example; for American Critics he has provided a rich quarry for New Critics and system builders alike; today, in the eyes of postcolonial critics such as Edward Said, Jahan Ramazani and Rajeev S. Patke, he still has important work of adjustment to perform in his global arena.
Henry Nevinson once said of Yeats; 'You have only to shake him and all manner of beautiful things tumble out.' Such admiration, shared by most critics, is also accompanied by searching forms of political inquiry. Early critics prepared the ground by charting changes in his verse and establishing the contexts for understanding his work. How to define his development has proved often crucial. Was he a symbolist, a late-romantic, a modernist? How much does the critic need to know about Yeats occult activities to understand or appreciate his verse? Cultural critics have stressed Yeats Irish background, and more recently his English contexts. He has been the subject of continuing interest across the full range of critical theory stemming from Marx, Nietzche, and Freud. Each generation has tackled these questions with different emphases, special insights and accompanying limitations. In the midst of all, the enigmatic figure of Yeats the poet and dramatist remains, to trouble the living stream.From the Author:
With two previous books on Yeats, one with the Bristol Press, the other with Yale University Press, I thought I had done enough on the great man, and then Amanda Helm from deep in the heart of the Sussex countryside got in touch. How could I refuse? Some time later came the four volumes, but less time than you might imagine for I had been working on Yeats criticism for some years. Once I had the chronological structure in place, the extracts seemed to fall into place. A million words on Yeats. And they're accumulating even as I write this in 2008, for Yeats remains a challenge to all of us who think about literature in the modern world. Whatever else I've written, for its sheer usefulness I suspect this anthology will outlast all my other books. By way of a footnote, let me add this. when completing the book I came across a postcard at a postcard fair in York which contained the signatures of Yeats, Lady Gregory and Ezra Pound. It had been rattling round postcard fairs perhaps for the best part of a century. I paid £8.50 for it, which I thought was also fair. I reproduce it in my Introduction as an example of how the story of Yeats continues to unfold, sometimes in odd ways. The postcard was sent from Stone Cottage in Sussex, where Yeats was wintering, to Hugh Lane, the art collector who would later drown when the Lusitania was sunk by German torpedoes in 1915. The card also carries the signatures of Carroll and Lily Carstairs, whose father was the London representative of Knoedler and Co, a prestigious New York art dealer recognised as a great European clearing house for Old Masters and early British artists. Carroll Carstairs went on to write a vivid accound of his experiences in the Great War in a book entitled 'A Generation Missing' (1930). The Carstairs had accompanied Lady Gregory on their visit to Yeats on 27 December 1913. It was a surprise visit and they had stopped off in Tonbridge to pick up cold beef and cakes for a picnic lunch with the two poets. As you can see from the card, they were happy and felt they were in Arcadia. The following day Yeats composed a fragment which begins 'I'd have enough if heaven would send / Peace in my body and my own thought / And one intimate friend / For the rest is naught.' My 'find' is a small contribution to the Yeats story amid the million words that make up the four books of my anthology.
"About this title" may belong to another edition of this title.
Book Description Helm Information Ltd, 2000. Hardcover. Condition: New. Dust Jacket Condition: No Dust Jacket. New. Complete 4 volume hardback set in publisher's card box. Pristine. Size: Sm 4to. Seller Inventory # 003872
Book Description Helm Information Ltd, 2000. Hardcover. Condition: New. Dust Jacket Condition: No Dust Jacket. New. Complete 4 volume hardback set in publisher's card box. Pristine. Size: Sm 4to. Seller Inventory # 003875
Book Description Helm Information Ltd, 2000. Hardcover. Condition: New. Never used!. Seller Inventory # P111873403739
Book Description Helm Information Ltd, 2000. Condition: New. book. Seller Inventory # M1873403739