"Attempts to balance traditional and modern criticism of Yeats by linking formalism and philosophy in the context of Yeats' work and evaluates its credibility in Yeats's practice in relation to other theoretical discourses and in the context of the turbulent cultural and historical circumstances under which Yeats worked"--Provided by publisher.

Reframing Yeats, the first critical study of its kind, uses a focus on genre and allusion to engage with a broad range of W. B. Yeats's writings, examining instances of his poetry, autobiographical writings, criticism, and drama. Identifying a schism in recent Yeatsian criticism between biographical and formalist methodologies, Armstrong's study combines an historicist perspective with close attention to literary form. The result is a flexible approach that casts new light on how Yeats's texts interact with their interpretative frameworks. Cognizant of both literary and political history, this book presents new interpretations of Yeats's work. Not only does it provide fresh readings of texts such as “The Municipal Gallery Re-visited,” “Among School Children” and "The Resurrection", but it also raises important new questions concerning Yeats's relationship to Modernism and literary genre.

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 not only introduces the reader to contemporary themes in Yeats criticism, but also provides a unified interpretation based on Yeats' ambivalent sense of identity as a nationalist conscious of the Anglo-Irish tradition from which he claimed descent.

W. B. Yeats and Fernando Pessoa (1888-1935) regarded style as a tool for metaphysical inquiry and, consequently, they adopted distinct poetic styles to convey different attitudes towards experience. Silva-McNeill's study examines how the poets' stylistic diversification was a means of rehearsing different existential and aesthetic stances. It identifies parallels between their styles from a comparative case studies approach. Their stylistic masks allowed them to maintain the subjectivity and authenticity associated with the lyrical genre, while simultaneously attaining greater objectivity and conveying multiple perspectives. The poets continuously transformed the fond and form of their verse, creating a protean lyrical voice that expressed their multilateral poetic temperament and reflected the depersonalisation and formal experimentalism of the modern lyric.

This book evaluates the parallels, divergences, and convergences in the literary legacies of Rudyard Kipling and William Butler Yeats. Coming 150 years after their birth, the volume sheds light on the conversational undercurrents that pull together the often diametrically polar worldviews of these two seminal figures of the English literary canon. Contextualizing their texts to the larger milieu that Kipling and Yeats lived in and contributed to, the book investigates a range of aesthetic and perceptual similarities – from cultures of violence to notions of masculinity, from creative debts to Shakespeare to responses to British imperialism and industrial modernity – to establish the perceptible consonance of their works. Kipling and Yeats are known to have never corresponded, but the chapters collected here show evidence of the influence that their acute awareness of each other’s work and thought may have had. Offering fresh perspectives which make Kipling’s and Yeats’s diverse texts, contexts, and legacies contemporarily relevant, this volume will be of great interest to scholars and researchers of literature, critical theory, postcolonial studies, cultural studies, and comparative literature.

Carrying a story to tell is the “ancient burden” of craftsmen, and it is one of the characteristics of the quest to find oneself, since a journey requires recognition of the aspects of self and anti–self. Like the speaker of his poems, W.B. Yeats has something to tell. His poetry draws nourishment from the battle between the dichotomies of self and anti–self, human and divine, mind and intellect, past and present, and body and soul. This book covers a selection of Yeats’s poems from 1889 to 1939, discussing them within the frame of the quest to find oneself and its gyroscopic transformation. The book illustrates that self is not a single entity, but has multiple layers, and it can be found within the quest in which it experiences a simultaneous transformation with every phase of the antithetical structure of gyroscopic movements. In addition, the way of the quest is cyclical; however, it is not a vicious cycle, since, in life, every end is a phase of a beginning and every beginning is a phase of an end.