The Collected Works Of W B Yeats Volume Xiii A Vision

The Collected Works of W. B. Yeats, Volume XIII: A Vision is part of a fourteen-volume series under the general editorship of eminent Yeats scholar George Bornstein and formerly the late Richard J. Finneran and George Mills Harper. One of the strangest works of literary modernism, A Vision is Yeats's greatest occult work. Edited by Yeats scholars Catherine E. Paul and Margaret Mills Harper, the volume presents the "system" of philosophy, psychology, history, and the life of the soul that Yeats and his wife George (née Hyde Lees) received and created by means of mediumistic experiments from 1917 through the early 1920s. Yeats obsessively revised the book, and the revised 1937 version is much more widely available than its predecessor. The original 1925 version of A Vision, poetic, unpolished, masked in fiction, and close to the excitement of the automatic writing that the Yeatses believed to be its supernatural origin, is presented here in a scholarly edition for the first time. The text, minimally corrected to retain the sense of the original, is extensively annotated, with particular attention paid to the relationship between the published book and its complex genetic materials. Indispensable to an understanding of the poet's late work and entrancing on its own merit, A Vision aims to be, all at once, a work of theoretical history, an esoteric philosophy, an aesthetic symbology, a psychological schema, and a sacred book. It is as difficult as it is essential reading for any student of Yeats.

The Collected Works of W. B. Yeats, Volume XIII: A Vision is part of a fourteen-volume series under the general editorship of eminent Yeats scholar George Bornstein and formerly the late Richard J. Finneran and George Mills Harper. One of the strangest works of literary modernism, A Vision is Yeats's greatest occult work. Edited by Yeats scholars Catherine E. Paul and Margaret Mills Harper, the volume presents the "system" of philosophy, psychology, history, and the life of the soul that Yeats and his wife George (née Hyde Lees) received and created by means of mediumistic experiments from 1917 through the early 1920s. Yeats obsessively revised the book, and the revised 1937 version is much more widely available than its predecessor. The original 1925 version of A Vision, poetic, unpolished, masked in fiction, and close to the excitement of the automatic writing that the Yeatses believed to be its supernatural origin, is presented here in a scholarly edition for the first time. The text, minimally corrected to retain the sense of the original, is extensively annotated, with particular attention paid to the relationship between the published book and its complex genetic materials. Indispensable to an understanding of the poet's late work and entrancing on its own merit, A Vision aims to be, all at once, a work of theoretical history, an esoteric philosophy, an aesthetic symbology, a psychological schema, and a sacred book. It is as difficult as it is essential reading for any student of Yeats.

The Collected Works of W. B. Yeats, Volume XIII: A Vision is part of a fourteen-volume series under the general editorship of eminent Yeats scholar George Bornstein and formerly the late Richard J. Finneran and George Mills Harper. One of the strangest works of literary modernism, A Vision is Yeats's greatest occult work. Edited by Yeats scholars Catherine E. Paul and Margaret Mills Harper, the volume presents the "system" of philosophy, psychology, history, and the life of the soul that Yeats and his wife George (née Hyde Lees) received and created by means of mediumistic experiments from 1917 through the early 1920s. Yeats obsessively revised the book, and the revised 1937 version is much more widely available than its predecessor. The original 1925 version of A Vision, poetic, unpolished, masked in fiction, and close to the excitement of the automatic writing that the Yeatses believed to be its supernatural origin, is presented here in a scholarly edition for the first time. The text, minimally corrected to retain the sense of the original, is extensively annotated, with particular attention paid to the relationship between the published book and its complex genetic materials. Indispensable to an understanding of the poet's late work and entrancing on its own merit, A Vision aims to be, all at once, a work of theoretical history, an esoteric philosophy, an aesthetic symbology, a psychological schema, and a sacred book. It is as difficult as it is essential reading for any student of Yeats.

The Collected Works of W. B. Yeats, Volume XIII: A Vision is part of a fourteen-volume series under the general editorship of eminent Yeats scholar George Bornstein and formerly the late Richard J. Finneran and George Mills Harper. One of the strangest works of literary modernism, A Vision is Yeats's greatest occult work. Edited by Yeats scholars Catherine E. Paul and Margaret Mills Harper, the volume presents the "system" of philosophy, psychology, history, and the life of the soul that Yeats and his wife George (née Hyde Lees) received and created by means of mediumistic experiments from 1917 through the early 1920s. Yeats obsessively revised the book, and the revised 1937 version is much more widely available than its predecessor. The original 1925 version of A Vision, poetic, unpolished, masked in fiction, and close to the excitement of the automatic writing that the Yeatses believed to be its supernatural origin, is presented here in a scholarly edition for the first time. The text, minimally corrected to retain the sense of the original, is extensively annotated, with particular attention paid to the relationship between the published book and its complex genetic materials. Indispensable to an understanding of the poet's late work and entrancing on its own merit, A Vision aims to be, all at once, a work of theoretical history, an esoteric philosophy, an aesthetic symbology, a psychological schema, and a sacred book. It is as difficult as it is essential reading for any student of Yeats.

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This book focuses on W. B. Yeats’s critical writings, an aspect of his oeuvre which has been given limited treatment so far. It traces his critical work from his earliest articles, through to his occult treatises, and all the way to his last pamphlets, in which he sought to delineate the idea of a literary culture: a community of people willing to credit poetry with the central role in imagining and organising social praxis throughout society. The chapters of this study investigate the contexts in which Yeats’s thought developed, his many disputes over the shape of Irish cultural politics, the future of poetry and the place literature occupies in the world. What transpires is an image of Yeats who is strung between the impulses of faith in the existence of a supernatural order and ironic scepticism as to the possibility of ever capturing that order in language. This study is distinguished by its grounding of Yeats's critical agenda in a broader context through textual analysis. In addition, it organises and systematises his conceptions of poetry and its social role through its approach to his criticism as a fully-fledged area of his artistic practice. The monograph has been written within the framework of the project financed by The National Science Centre, Cracow, Poland, pursuant to the decision number DEC-2013/09/D/HS2/02782.

This book comprehensively examines the relationship between literature and sculpture in the work of W. B. Yeats, drawing on extensive archival research to offer revelatory new readings of the poet. The book traces Yeats's literary and critical engagement with Celtic Revival statuary, public monuments in Dublin, the coin designs of the Irish Free State, abstract sculpture by the Vorticists and modernists, and a variety of carvings, decorative sculptures, and objets d'art. By charting Yeats's early art school education in Dublin, his attempts to raise funds for public monuments in the city, and to secure commissions for his favourite sculptors, the book documents a lifelong interest in the plastic arts. New and original readings of Yeats's poetry, drama, and prose criticism emerge from this concertedly inter-arts and interdisciplinary study.

The Collected Works of W. B. Yeats, Volume IV: Early Essays is part of a fourteen-volume series under the general editorship of eminent Yeats scholars George Bornstein and George Mills Harper. These volumes include virtually all of the Nobel laureate's published work, in authoritative texts with extensive explanatory notes. Early Essays, edited by the internationally esteemed Yeats scholars George Bornstein and the late Richard J. Finneran, includes the contents of the two most important collections of Yeats's critical prose, Ideas of Good and Evil(1903) and The Cutting of an Agate(1912, 1919). Among the seminal essays are considerations of Blake, Shakespeare, Shelley, Spenser, and Synge, as well as an extended discussion of the Japanese Noh theatre. The first scholarly edition of these materials, Early Essays offers a corrected text and detailed annotation of all allusions. Several appendices gather materials from early printings which were later excluded, as well as illuminating black-and-white illustrations. Early Essays is an essential sourcebook for understanding Yeats's career as both writer and literary critic, and for the development of modern poetry and criticism. Here, Yeats works out many of his key ideas on poetry, politics, and the theater. He gives interpretations of writers critical to his development and presents a compelling vision of Ireland and the modern world during the last decade of the nineteenth century and first two decades of the twentieth. As T. S. Eliot remarked, Yeats "was one of those few whose history is the history of their own time, who are a part of the consciousness of an age which cannot be understood without them." This volume displays a crucial part of that history.