David Young - Troubled mirror: a study of Yeatss The tower
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Yeats, W. B.--(William Butler),--1865-1939.--Tower.
publication date
:
1987
lcc
:
PR5904.T63Y6 1987eb
ddc
:
821/.8
subject
:
Yeats, W. B.--(William Butler),--1865-1939.--Tower.
Page iii
Troubled Mirror
A Study of Yeats's The Tower
By David Young
University of Iowa Press Iowa City
Page iv
University of Iowa Press, Iowa City 52242 Copyright 1987 by the University of Iowa All rights reserved Printed in the United States of America First edition, 1987
Book and jacket design by Sandra Strother Hudson Typesetting by G&S Typesetters, Inc., Austin, Texas Printing and binding by Edwards Brothers, Inc., Ann Arbor, Michigan
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, without permission in writing from the publisher.
Library of Congress Cataloging-in-Publication Data
Young, David, 1936 Troubled mirror. Includes index. 1. Yeats, W. B. (William Butler), 18651939. Tower. I. Title. PR5904.T63Y6 1987 821'.8 86-1926 ISBN 0-87745-157-5
Grateful acknowledgment for permission to quote from the poems of W. B. Yeats is made to the following: A. P. Watt Ltd. on behalf of Michael B. Yeats and Macmillan London Ltd. for extracts from The Collected Poems of W. B. Yeats; Macmillan Publishing Co. for a selection from "Fragments," copyright 1933 by Macmillan, renewed 1961 by Bertha Georgie Yeats; Macmillan Publishing Co. for extracts from The Tower, copyright 1928 by Macmillan, renewed 1956 by Georgie Yeats.
Page v
As we look back over the long gallery of Yeats' major poems, they have more and more the appearance of some series of Renaissance portraits.... It is doubtful, therefore, whether they compose an oeuvre in the approved literary sense. It is dangerous to mistake their thematic correspondences and linking symbols for a unity which is lacking: for that is to confuse the ideology and the biography with the works of art which are born from them. There is a sense in which the completest collection of Yeats' poems is still an anthology. After The Wanderings of Oisin, Yeats never wrote another "long poem," and it is no use pretending that what we have constitutes one. Peter Ure, W. B. Yeats
It gets more and more deliberate as one examines it.... Through that volume, The Tower, runs a dramatic progression if ever I saw one. And the presence of such a progression, once it is discerned, modifies all the parts. Hugh Kenner, "The Sacred Book of Arts," in Gnomon
Page vii
Contents
Preface
ix
1. Affinities and Juxtapositions
1
2. Byzantium and Back
14
3. Empty Houses
30
4. A Requiem for Progress
46
5. Fabulous Darkness
61
6. Swan and Centaur
73
7. The Long Schoolroom
85
8. Sophocles in Ireland
97
9. The Death of the Hare
107
10. Muscatel in Oxford
120
11. A Bitter Book
134
Notes
145
Index
151
Page ix
Preface
While not many readers would dispute the claim that Yeats is the greatest modern poet in our language, the basis of that claim is surprisingly difficult to identify. We are still very much in the process of describing and understanding both the greatness and the modernity of this poet. If by greatness we mean an achievement that ranks Yeats with poets like Chaucer, Spenser, Milton, and Wordsworth, we must acknowledge that those poets' claims to greatness rest in large part on ambitious long poems like The Faerie Queene and The Prelude. While Yeats tried his hand at a long poem (The Wanderings of Oisin), his achievement clearly rests on individual lyrics of intensity, scope, and memorability. The creation of such lyrics, at least as tradition has it, does not guarantee greatness. No long poems, the formula runs, no major poet.
The question of Yeats's modernism is at least as problematic. Much of the existing commentary ignores the question. Yeats is variously presented as a romantic poet who happened
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