qtd. in
Tynan, Katharine. The Middle Years. Constable, 1916.
68
W. B. Yeats
-
Standard Name: Yeats, W. B.
Used Form: William Butler Yeats
Used Form: Willie Yeats
WBY
, who began publishing well before the end of the nineteenth century, is regarded as one of the most important twentieth-century poets in English, and one of the most international of Irish writers. He was early involved in the Irish Literary Revival, and wrote early, highly romantic lyrics on Celtic and fairy themes. Later he made poetry out of the search for a poetic language. Some of his later work is affected by his interest in the occult.
Connections
| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| Intertextuality and Influence | Naomi Mitchison | The action takes place among Celtic tribes between 58 and 51 BC (with a coda set five years later). It opens in what is now the Auvergne, newly invaded and occupied by the Roman... |
| Intertextuality and Influence | Katharine Tynan | Yeats
felt that no one could do it [the volume] so well as you, Tynan, Katharine. The Middle Years. Constable, 1916. 68-9 |
| Intertextuality and Influence | Eva Mary Bell | Mary finds her life's work in India. Arriving in Delhi is a landmark in her life, as arriving in Baghdad was before. She works with an older woman named Alice Norman, widow of a British... |
| Intertextuality and Influence | Kathleen Raine | For KR
, poetic tradition was that of the major romantic poets, headed by Blake
and followed by Coleridge
, Yeats
, and Edwin Muir
. She was at Girton
when a generation of Cambridge... |
| Intertextuality and Influence | Elizabeth Jennings | As a teenager, EJ
read T. S. Eliot
and (as she put it) wrote long poems of sort of vers libre which I imagined were influenced by Eliot, and which were very personal, in fact... |
| Intertextuality and Influence | Emily Lawless | Routinely mentioned, albeit in passing, in accounts of Irish literature such as Ernest Augustus Boyd
's Ireland's Literary Renaissance, 1916, EL
has also been anthologized in collections of Irish verse, such as Padraic Collum's... |
| Intertextuality and Influence | Jane Francesca Lady Wilde | JFLW
gave two different accounts of what had made her a poet. In one, it was reading The Nation's Valentine, To the Ladies of Ireland, in which Richard D'Alton Williams
urged Irishwomen to sing... |
| Intertextuality and Influence | Augusta Gregory | AG
chose to focus on Grania—a controversial figure in Irish legend who leaves her intended husband for a lover but then returns to him—because of her strength of character. As she explains,I think I... |
| Intertextuality and Influence | Jennifer Johnston | JJ
says, I don't plan my writing; I just sit down and listen to the voices. This makes it sound easy. It is not. Moloney, Caitriona et al. Irish Women Writers Speak Out: Voices From the Field. Syracuse University Press, 2003. 67 |
| Intertextuality and Influence | Eudora Welty | This is one of her best-known volumes of stories, in part perhaps because of its involvement with gender issues, with such topics as early sexual development, rigidly demarcated gender roles, misogyny, sexual violence, defiance of... |
| Intertextuality and Influence | Maureen Duffy | The book has three sections. The poems in Missa Humana correspond to different items in the Mass: from Kyrie (Lord, have mercy, a three-stanza poem which invokes the manmade suffering of children around the... |
| Intertextuality and Influence | Florence Farr | Its full title is The Music of Speech, Containing the Words of Some Poets, Thinkers and Music-makers Regarding the Practice of the Bardic Art Together with Fragments of Verse Set to Its Own Melody. Farr, Florence. The Music of Speech. Elkin Mathews, 1909. title-page |
| Intertextuality and Influence | Edith Lyttelton | Its chapters include Symbols and their Use, Mind Pictures, Dreams, and Knowledge of Future Events. The latter contains a discussion of foreknowledge in automatic writing and utterance, using the example of... |
| Intertextuality and Influence | G. B. Stern | While in her teens GBS
composed two one-act Waiferage plays. The heroine of one, a lonely understudy in a fifth-rate touring company, worships the leading man from afar and feels ecstatic when the leading lady... |
| Intertextuality and Influence | Catherine Byron | As an Irish poet, CB
takes inspiration from traditional tales and myths, and from such Irish writers as W. B. Yeats
and Seamus Heaney
(though she does not consider either of them as role models... |
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