W.B. Yeats

Fifth in a series of short articles for the Irish Arts Review that aims to put Irish arts in historical and social contexts by highlighting selected artworks and archival resources at the John J. Burns Library for rare books, special collections and archives at Boston College. This fifth installment focuses on a previously unknown embroidery designed and executed by Maud Gonne.

[AMAZON LINK BELOW TO BOOK ITSELF -- TOC and book intro in downloadable .pdf] 

"It is a common experience that a problem difficult at night is resolved in the morning after the committee of sleep has worked on it." --John Steinbeck Scientific research confirms what people have always known: answers, ideas, and inspiration do come to us in dreams. Harvard psychologist and world-renowned dream specialist Deirdre Barrett, Ph.D., offers this rich collection of examples of how the world's most creative practitioners in art, music, film, science, literature and other fields have used the revelations of their dream life to inform their work. Dr. Barrett offers insights showing us how to encourage lucid, meaningful dreaming, and how to apply the meanings of our dreams to solving problems--from the everyday to the extraordinary. This is the stuff dreams are made of. In the visual arts, Jasper Johns couldn't find his unique artistic vision until he dreamed it in the form of a large American flag. Salvador Dali and his colleagues built the startling new genre of surrealism out of dreams. Kubla Kahn dreamed the design for his stately pleasure dome; thousands of years later, Lucy Davis, chief architect at a major firm, continues the tradition of dreaming designs into life in her extraordinary buildings. Film is a fertile avenue for dreams: "Twice I have transferred dreams to film exactly as I had dreamed them," confides director Ingmar Bergman, as have Federico Fellini, Orson Welles, Akira Kurosawa, Robert Altman, and John Sayles. From Mary Shelley's terrible nightmare, which became Frankenstein, to Stephen King's haunting dream as a little boy, which led to his first bestseller, countless writers have consulted the Committee. Musicians from Beethoven to Billy Joel and Paul McCartney have whistled the Committee's tunes. In science, physiologist Otto Loewi dreamed the medical experiment that earned him the Nobel Prize. In sports, Marion Jones dreamed she'd broken a world record, then brought the dream to life. Gandhi translated his dream of resistance into a movement that changed the world. Since Freud, we take it for granted that our dreams reflect our past. In The Committee of Sleep, Barrett reveals how dreams can also tell us about our future potential--and how to reach it.

Daalder, Joost 1987. Some Possible Sources for Yeats's 'Sailing to Byzantium': A Reconsideration. The Yeats Eliot Review 9 (1), 1-16. Copyright 1987, The Yeats Eliot Review. Published version of the paper reproduced here with permission from the publisher. This article aims to refute Archibald A. Hill, who argued that neither Keats's 'Ode to a Nightingale' nor Andersen's story 'The Nightingale' need be accepted as source material for Yeats's poem. The author argues that both are sources for 'Sailing to Byzantium', concluding that literary sources appear to have affected Yeats profoundly, prompting him not only to imitate, but also to re-fashion, re-imagine, re-create, re-define and re-value the experiences offered by his literary predecessors. That is why it is so important to be aware just who those predecessors were.

Correspondence between W. B. Yeats and the ‘pitman-poet’ Joseph Skipsey  demonstrates new insights into the early careers of Yeats and a deeper understanding of the possibilities and capabilities of the Victorian working classes. This article argues that, in Skipsey, Yeats found an English equivalent to the Irish peasant poet whose life and poetry was central to his vision of Ireland and an integral part of the nation’s literary revival; a noble savage whose life and oral tradition was unsullied by rampant Victorian industrial capitalism.

This article analyses the place of nihilistic philosophy in W. B. Yeats's notoriously opaque work A Vision. Despite often being cast as a failure, A Vision is considered fundamental to a comprehension of Yeats and his writings. While much work has been done to illuminate this obscure text, criticism has not yet adequately addressed a trio of integral philosophical influences on Yeats and their presence in A Vision. This article shows that Yeats employs the 'old' nihilistic attributes present in Baruch Spinoza's substance monism, Immanuel Kant's transcendental idealism, and Georg Hegel's Absolute Spirit to propose a foundational metaphysical system and reimagine the concept of 'deity'. Yeats enthusiastically read each of these three philosophers, counting them amongst the most significant thinkers he studied. By interrogating the deific properties of the Thirteenth Cone, this article argues that old nihilism shapes Yeats's system in A Vision and more broadly, illustrates the poet's understanding of generative nothingness, a concept that Spinoza, Kant, and Hegel considered the underpinning of epistemological reality.

W.B. Yeats, Crazy Jane and the Catholic Church William Butler Yeats or W.B. Yeats as he is known is one of the most prominent literary figures of the 20 th century. Born in 1865 in Ireland, today he is remembered as one of the iconic figures of the Irish Literary Revival and the modernist movement in literature and remains one of the greatest English-language poets of all time (Domestico). Aside from poetry, he was also a dramatist or playwright and a prose writer. He received the Nobel Prize for Literature in 1923. Despite being Irish, he did not follow either the Roman-Catholic or Protestant forms of Christianity present in Ireland at the time, but he wished to cultivate a tradition for Ireland based of the anthropological evidence of customs, holy places and sacred beliefs, that would be considered more pagan than Christian (Britannica). He attended the Metropolitan School of Art in Dublin between 1883 and 1886, where he met a number of other prominent poets, writers and artists of the coming age. After moving to London, he quickly involved himself within the literary circuits of the city and as a young poet was well known for his spiritual arrogance and pride. He wrote his first volume of verse, The Wanderings of Oisin and Other Poems in 1889, the same year that he met Maud Gonne an Irish beauty with strong nationalist sympathies. Yeats unrequited love for Gonne spanned decades and was never fulfilled and she served as the inspiration for much of his lyrical poetry (Britannica). He proposed to her in 1899 and was declined, in 1917 he asked her daughter Iseult Gonne to marry him and she too refused him. Some weeks later he proposed to George Hyde-Lees and they were married in 1917, and had two children, a

No two poems are the same, even though they are works of the same author. So, two poems like Never Give All the Heart and The Rose of Peace which were written eighteen years apart, are also not expected to have the same qualities. Due to rises and falls in his personal life, Yeats’ perspective on love, one of the major themes in Yeats’ poetry, had changed as well as his identity as a poet had developed. Even though he had a pessimistic point of view while he was dealing with the rejection, he later adopted a more optimistic approach because he had met with another woman. Yeats’ perspective on life reflected his poems and affected his choices in terms of language and structure, while he conveyed his ideas to the reader through tone he used, which created the proper mood according to the message he wanted to convey.

This article examines the immediate historical context within which an image of Tagore -one that persists today -was constructed. It looks at the expectations and prejudices of Tagore's contacts in London such as William Rothenstein, W. B. Yeats and Ezra Pound; some of the ideas about Tagore articulated in the British press; and the Nobel Prize controversy. In so doing it seeks to clear away some of the historical misunderstandings surrounding Tagore's visit to London in 1912 and and the awarding of the Nobel Prize. It argues that this is a starting point for a better appreciation of Tagore as an historical actor, and hence to understanding both his real motivations for visiting to London in 1912 and the grander, more theoretically interesting, nature of Tagore's anti-colonial project.

In our paper on W. B. Yeats, we have tried to answer to the question “how do allusions to Shakespeare plays work within specific poems?”, attempting to convey and discuss Shakespearean references in three of Yeats’ poems, namely An Acre of Grass, Lapis Lazuli and The Statues.  Being written and published between 1936 and 1939, these are part his last literary production, the first two included in the collection New Poems (1938), the latter in Last Poems (1939).

Государственное образовательное учреждение высшего профессионального образования РОСТОВСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ На правах рукописи ПРИХОДЬКО Вера Сергеевна МИФОПОЭТИЧЕСКИЙ АСПЕКТ РАННЕЙ ЛИРИКИ У.Б. ЙЕЙТСА (1889-1899гг.) Специальность 10.01.03 -Литература народов стран зарубежья (литература стран германской и романской языковых семей) Диссертация на соискание ученой степени кандидата филологических наук Научный руководитель: доктор филологических наук, профессор Н.В. ЗАБАБУРОВА Ростов-на-Дону -2005 2. Антиномии и связанные с ними мифологемы в "Crossways","The

The poetry of the 20th Century is like a subterranean current that slowly worked on its foundation, uprooted the status quo-sit values and aimed at creating new ones. The Poets of this era broke away from the narrative tone and focused more on fragments and combining images from different aspects of life. T. S. Eliot and W. B. Yeats are two acknowledged poetic figures of this era. In this essay, I have attempted to study and highlight their movement away from Romantic and the Victorian poetry towards the notion of "Make It New". Poems selected for this essay are The Hollow Men, La Figlia Che Piange, The Long Song of J.Alfred Prufrock by Eliot, and The Second Coming, A Prayer for my Daughter, and Easter 1916 by Yeats.

Leda and the Swan is one work of both art and literature that captures the wits and senses of its beholders. This is not merely because of its beauty, demonstrated in paintings or sculptures, or its dexterity when represented in texts of either prose or-more notably-poetry, but rather for the ambiguity and the enchantment of its mythical origins. Myths usually emanate from two elements, more or less, equally; reality and fancy, or truth and imagination. These two elements combined can be a serious potion of eternity. Myths, generally speaking, are thought to have occurred as a means of providing an explanation for all phenomena of life. They were the tool with which man could curb his fear of the supernatural realm; the moral rules to guide mankind in the bleak abyss of the unknown (Mavromataki 4). Therefore, one can scatter any ethics, anxieties or whims in the soil of myth and it will sprout and keep growing permanently. The themes implanted in myths are there for life. Once they tackle human desires and appeal to both the sense and sensuality of man, they become eternal. And the myth of Leda and her Swan has it all. Any myth could have died out and become no more than a fable recounted from one generation to another until it became extinct had it not the strength and intensity it should possess. There are universal, timeless elements which carry the legend created on a magic carpet to all people at all times. To create a legend or a myth that caresses painters' imagination and tickles poets' creativity, it has to numb them first; put them in a state close to stupor. Once they have been in this state, the myth can set off the powers of creativity and innovation in them. This

(Collecting 'The Modern Debacle'/ 'Myth, Depavity, Impasse'/ 'This Life, This Death: Wordsworth's Poetic Destiny')

Authors covered:
in "The Modern Debacle": T.S.Eliot, Ernest Hemingway, Samuel Beckett, Tennessee Williams, Arthur Miller, Bertolt Brecht, Sylvia Plath, Ted Hughes, Robert Graves, and W.B. Yeats
in 'Myth, Depavity, Impasse': Mircea Eliade, Ernst Cassirer, Owen Barfield, Carl Jung, Joseph Campbell, Robert Graves, Ted Hughes, (Shakespeare), and John Keats
in 'This Life, This Death': William Wordsowrth

How worthy can we be today of actual mythical experience? How are we related to that experience in our deepest depravity? And why has the mythical experience grown so opaque to us in our post-Romantic, modern world?

“beautifully and fluently written and ingenious in its combination of catastrophes” {Anthony Gash, Drama Head, the University of East Anglia}

"A wonderful writer on myth"  {Robert A. Segal, author of 'Theorizing about Myth'}

Visit the author's website at johnomeara.squarespace.com

"The oldest records indicate that the performance of poetry in Gaelic Ireland was normally accompanied by music, providing a point of continuity with past tradition while bolstering a sense of community in the present. Music would also offer, particularly for poets writing in English from the eighteenth century onwards, a perceived authenticity, a connection with an older tradition perceived as being untarnished by linguistic and cultural division.

While providing an innovative analysis of theoretical work in music and literary studies, this book examines how traditional Irish music, including the related song tradition (primarily in Irish), has influenced, and is apparent in, the work of Irish poets. While looking generally at where this influence is evident historically and in contemporary Irish poetry, this work focuses primarily on the work of six poets, three who write in English and three who write primarily in the Irish language: Thomas Kinsella, Seamus Heaney, Ciaran Carson, Gearóid Mac Lochlainn, Nuala Ní Dhomhnaill and Cathal Ó Searcaigh."

This thesis explores the notion of ‘voice’ in relation to contemporary poetics and the digital arts. It is a practice-based project that produces a theoretical and creative space in which a theory of the ‘voice of the machine’ is discovered and tested. Through a series of research chapters and critical reflections this thesis tests ideas of dictation, translation, inscription and embodiment using the poetic device of the disembodied — or acousmatic — voice as a fundamental theoretical framework, which in turn informs my practice. I begin with a study of Jack Spicer’s book After Lorca, a collection of translated poems that are dictated to Spicer by the ghost of Federico García Lorca. Using the work of Mladen Dolar, I explore the idea of the acousmatic voice and the processes of translation that emerge from this when one is in communion with the dead. From this I identify a ‘network of tradition’: Spicer’s matrix of historical, poetic associations to which belongs W.B. Yeats, another poet who used spirit dictation in composition. I focus on the practice of Yeats’s wife, George, who, acting as a medium, produced hundreds of manuscripts of automatic writing and drawing. Through a study of Johanna Drucker’s notion of graphesis, via discussions on choreography, I establish George Yeats as a spiritual writing machine whose practice works as an acoustic register of ghostly dictation and audition. I consider the idea of katabasis — an Orphic descent to retrieve a voice — that underpins Spicer’s poetics in After Lorca and I use this as a catalyst to enact gestures of archival katabasis — in pursuit of George Yeats — and what I term as the kata_BASIC, which is a descent into the machine to retrieve its voice. Using the random-chance poetics of Jackson Mac Low as a practice methodology I understand the voice of the machine to be an expression of its agency and computational processes, which are materialised in machine-mediated interventions such as the glitch. The practice I produce in this project — poetry, objects, video and sound — tests ideas of translation, acoustic imagery, hybridity and transcreation in light of the idea of a shared voice of collaboration that exists between the machine and the archived or disembodied voices that it (re)mediates.

It is a well known fact that in 1912, when he went to England, Tagore had carried a diary containing his own English translation of his Bangla poems. It was this diary that he presented to Rothenstein, who was so impressed with it that he circulated the contents to Yeats and other friends. It was from this manuscript that most of the poems of 'Gitanjali: Song Offerings' were taken and it was primarily this collection for which Tagore was awarded Nobel Prize in 1913. This paper studies the 'behind the scenes' story and history of this manuscript and tries to find answers to some questions about which there might have been curiosity and/or confusion and perhaps, misconception.

"About the Book (from http://www.clemson.edu/cedp/cudp/pubs/vision/index.html)

W. B. Yeats's "A Vision": Explications and Contexts is the first volume of essays devoted to A Vision and the associated system developed by W. B. Yeats and his wife, George. A Vision is all-encompassing in its stated aims and scope, and it invites a wide range of approaches—as demonstrated in the essays collected here, written by the foremost scholars in the field.

The first six essays present explications of broader themes in A Vision itself: the system's general principles; incarnate life and the Faculties; discarnate life and the Principles; how Yeats relates his own work to other philosophical approaches; and his consideration of the historical process. A further three essays include an examination of the elusive Thirteenth Cone, a consideration of astrological features in the automatic script, and a view of the poetry within A Vision. The final five essays look at contextual themes, whether of collaboration and influence—between husband, wife, and spirits, or with another poet—or the gender perspective within these interrelations, the historical context of Golden-Dawn occultism or the broader political context of fascism in the 1920s and 1930s. Throughout, the different contributors take a variety of stances with regard to texts and the automatic script.

This is an important contribution to Yeats scholarhip in general and a landmark in studies of A Vision."

It is a known fact that throughout his life Pessoa was interested in and conversant with an array of esoteric currents and doctrines. Underpinning that interest was a marked tendency to a form of symbolic thinking encapsulated in the lines " […] my thinking is condemned / To symbol and analogy " from a 1907 poem by the incipient heteronym Alexander Search, which recur in a fragment from 1932 of the dramatic poem Fausto. Pessoa's continued symbolic thinking, informed by copious readings mainly in Western Esotericism, allowed him to develop a creative hermeneutical approach to esoteric epistemologies. This essay will be concerned specifically with Pessoa's conception of the mystical significance of geometrical forms, arguing that they not only enriched the figurative expressiveness of his poetry but also played a crucial role in his formulation of a poetics of Sensationism. Pessoa's use of geometric imagery will be considered in the context of the fascination with sacred geometry and exploration of its aesthetic potential displayed by other modernists, like Yeats and Pound, and by avant‑garde movements from the early XX th century which were also driven by analogous concerns, such as Futurism, Vorticism, Cubism, Expressionism and Suprematism.

A consideration of the early relationship between James Joyce and W.B. Yeats and the literary-historical contexts of the composition, publication and reception of Chamber Music and how this volume fits with the ambitions of the Irish Literary Revival.

Abstract
Although largely unrelated phenomena, there are striking similarities between the manner in which both Ireland and India drew upon their classical languages as a mechanism for intellectual nation-building upon both states’ withdrawals from the British Empire. After examining this overarching context, the development of a national literary canon is analyzed through the framework of the relationship between the leading literary figures of both nations in the run-up to independence: W. B. Yeats and Rabindranath Tagore. Yeats’ early admiration for Tagore is contrasted with his later disillusionment and demonstrated to be part of his misconception of India as representing an idealized past which Ireland had already surpassed. Though both he and Tagore were critical of the nationalist narratives of their own states — particularly nationalist violence — Yeats’ views were clouded by his relationship with Maud Gonne, while Tagore feared Asian attempts to transform into colonial powers on the model of the West.

In this essay I try to argue a broader and deeper notion of fairy tale, beginning from an overview of some of the key terminologies and classifications devised and employed by folk-narrative research, passing through an etymological and semantic scrutiny of the word 'fairy', and developing, eventually, a structural analysis purposely framed within the historical-cultural context of the Irish tradition. What I attempt to let emerge – challenging to some extent the established concepts and theories – is a more comprehensive narrative category, characterised by a specific epistemological and ontological value, through which a sort of intermediate, neutral space is modelled, where boundaries are crossed and elements more or less heterogeneous are connected. Thus, the fairy tale can express a multi-dimensional worldview and the potential for a more complex idea of reality.

This essay investigates the well-known, yet understudied, Bengali Theosophist Mohini Mohun Chatterji. In this essay, Mohini Chatterji's life and career will be discussed in relation to the Theosophical Society. His case will be seen as an example of how Bengali Theosophists played a significant role in the transcultural, entangled history of the global Theosophical movement, thus connecting Vedantic philosophy with occultism.

The aim of this article is to analyze the poem " Easter 1916 " of the Irish writer William Butler Yeats which was written weeks after the Easter Rising. An armed revolution held by teachers, poets, and writers, among others. It had as its main objective to grant freedom to Ireland, once it was still under British rule. The rising was rapidly suppressed and the leaders condemned to death. This episode was a watershed in Irish history for many reasons and many writers and poets had written about it. One of the most famous poems about it is going to be scrutinized in this article. RESUMO: O objetivo deste artigo é analisar o poema "Easter 1916" do escritor irlandês William Butler Yeats, poema escrito semanas depois do Levante da Páscoa. Revolução armada realizada por professores, poetas e escritores, entre outros. Teve como principal objetivo a concessão de liberdade para a Irlanda, uma vez que esta ainda estava sob o domínio britânico. A insurreição foi rapidamente suprimida e os líderes condenados à morte. Este episódio foi um divisor de águas na história da Irlanda e muitos escritores e poetas escreveram a esse respeito. Um dos poemas mais conhecidos sobre o levante será analisado neste artigo.

When the Irish poet William Butler Yeats (1865–1939) staged his play At the Hawk’s Well in 1916 as a response to Japanese Noh theatre, he collaborated with individuals from several countries, for instance the American poet Ezra Pound (1875–1972), the French artist Edmund Dulac (1882–1953) and Japanese nationals such as the dancer and choreographer Itō Michio (1892–1961), the artist Kume Tamijūrō (1893–1923) and the playwright Kōri Torahiko (1890–1924).  Levels of sophistication and understanding regarding Japanese culture and language varied greatly among them, and the language barrier became part of the creative process, accidents of translation playing a pivotal role on both textual and cultural levels.
This was not in itself seen to be a problem. Appreciation of Japan was based less on scholarship as we would understand it now than on a fantastical idea of the Orient which fused together elements of Asian culture more broadly.  Japanese art was widely believed to possess universal aesthetic qualities which could revitalise modern art. This idea, rather than a direct experience of Japan, was to be the enduring inspiration for many artists and writers.  Their aim was to create a new work of art which expressed those fundamental qualities, rather than to adhere faithfully to the original, in this case, to Noh tradition. Yeats himself claimed to have ‘invented a form of drama’ drawing on material that had already passed through several hands: ‘Japanese plays translated by Ernest Fenollosa and finished by Ezra Pound’, as he put it;  although the critic Frank Kermode was the first of many to observe that Yeats’s encounter with Noh confirmed the existing direction of his drama, rather than setting it on a radically new path.  As early as 1894, Yeats wrote a play that reached its climax in the symbolic dance of a supernatural being.  This readiness of Yeats, Pound and others to re-work Asian material underpins a key observation of this essay, which is the passionate interest in, for some even devotion to, ideas coming from the East, which often led them to an interest into Eastern spiritualities and esoteric practices.
Even so, the considerable scholarship on Yeats’s response to Noh has tended to rely on a direct comparison between his work and Noh classics,  ignoring his adaptive approach to the material, and later adaptations of the play in Japan by Itō Michio in 1939, and by the Noh scholar and dramatist Yokomichi Mario (1916–2011) in the postwar period.  This essay will explore the extended process of making and remaking ‘the Hawk’s plays’ – a collective term for a number of original creations, stage adaptations and reinterpretations of the ‘Hawk’s Well’ narrative – and their eventual reincorporation into Japanese culture. It will pay particular attention to the role of Itō in refining Yeats’s concept of ‘Irish Noh’, or ‘neo-Noh’, as it is sometimes called, and of Yokomichi in reinterpreting it for post-war Japanese audiences.  And it will show how a powerful and persistent myth of Japanese universalism complicated these processes of translation and adaptation.

I argue a case for interpreting Yeats through the metaphysics of The Order of the Golden Dawn and the human/cosmic life cycle of their Rider-Waite tarot deck. In doing so, I will explain how the metaphysics of Indian and Egyptian sacred geometry inform his poetry, and his plays, in particular, ‘A Vision’ (1925) and ‘The Herne’s Egg’ (1938).

This essay begins to explore the relationship of the production and dissolution of meaning in lyric and the analogous production and dissolution of law in the moment of violence, typically the coup [el golpe] or, as Yeats put it in the poem “Leda and the Swan”, “the sudden blow” that inaugurates history’s regimes.  Yeats’s “Leda”, published in 1923, is notoriously a poem that addresses the violence out of which a civilization—that of the modern West—traces its origins or foundations.  This essay focuses, by way of contrast, on the Peruvian poet César Vallejo’s contemporaneous poem “Vusco volvvver de golpe el golpe”, the ninth lyric in Vallejo’s highly experimental volume Trilce of 1922.  The poem is profoundly enigmatic in every regard, but seems to operate as a meditation on the intersection of sexual and political violence and to engage in a continuous proliferation and dissolution of meaning through strategies of multiplication of meaning and of neologism, distortion and pun.  The poem thus seems to challenge any limit on reading (the sort of “tact” of knowing where to stop that William Empson famously counseled at the end of Seven Types of Ambiguity) and to constitute a kind of counter-violence to the violence of the law that seeks to put a limit or determination on interpretation.  Potentially, the paper opens onto what Frantz Fanon once referred to as “social psychosis” and opens a further potential discussion of psychosis as a model for generative poetic meaning. In contrast with “Leda and the Swan”, Trilce IX does not sublimate the violence of the sexual or of the political into the figure of a power/knowledge relation that founds a new law or a new state, but diffuses the violence into a state of exhaustion that supposes a reiteration rather than a reproduction of foundation.  Nonetheless, both poems in their similarities as in their differences, raise the question of the profound intimacy of poetry to violence and to the law alike and offers the sketch of a counter-principle to the common conception of literary work as an institutional practice within a nationalist or anti-colonial context.

Kim Sowol(김소월, 1902~1934) was a Korean poet who represents modern Korean poetry. That his most acclaimed poem "Azaleas" (진달래꽃, 1922) was strongly influenced by W. B. Yeats's "He Wishes for the Cloths of Heaven" (1899), has rarely been introduced to Japan.
Kim Eok (김억, 1896~?), a poet and "the literary mentor" of Kim Sowol, translated "He Wishes..." into Korean and it is obvious that Kim Sowol read the translation. However, Kim Eok mistranslated "cloths" as "옷" which means "clothes" (in Korean "cloths" should be translated as "옷감"). In his 2013 thesis “One Hundred Year (Mis)Translation of W. B. Yeats's ‘He wishes for the Cloths of Heaven’” (The Yeats Journal of Korea 40, 153–184) Kim Yong Kwon (김용권) states that Kim Eok’s version is a retranslation from the Japanese version by Hakuson Kuriyagawa (厨川白村, 1880~1923) and that Kuriyagawa's "He Wishes..." is primarily a mistranslation.
This paper argues how the modern Korean poets read Yeats and how the imperial Japan and Japanese language had some influence, be it positive or negative, on modern Korean literature.

This presentation was done at the 17th meeting of English Poetry Society (Eishi-kenkyūkai, 英詩研究会) on 5th September, 2020.

Abstract: It is a given that Yeats wrote and/or assembled books of poems. Some collections of poems within books inform one another within the larger arc of the book as a whole and, as a result, an examination of how poems placed adjacent to one another deepens readers’ and scholars’ appreciation and understanding of the poems. This is certainly the case of the final four poems of Michael Robartes and the Dancer, which shows Yeats wrestling with a new father’s complicated feelings about having a beloved daughter born in troubling times.
Key words: Yeats, Michael Robartes and the Dancer, “The Second Coming”, “A Prayer for My Daughter”, “A Meditation in Time of War”, “To Be Carved on a Stone at Thoor Ballylee.”