William Yeats - Writings on Irish Folklore, Legend and Myth
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PENGUIN TWENTIETH-CENTURY CLASSICS
WRITINGS ON IRISH FOLKLORE, LEGEND AND MYTH
William Butler Yeats was born in Dublin in 1865 into an artistic family and spent his childhood in Sligo, Dublin and London. In Dublin he enrolled at the Metropolitan School of Art in 1884. The next year he became a founder-member of the Dublin Hermetic Society; in time this led him to the Esoteric Section of the Theosophical Society and the Hermetic Order of the Golden Dawn (1890). He developed a life-long interest in magic, the occult and the supernatural, which influenced much of his thinking and writing, and which achieved its most complete expression in the expository speculations of A Vision (1925; revised version 1937).
Yeatss home was most often in London, though he visited Ireland frequently. For a while he was close to the politics of Irish nationalism, not least because of his long infatuation with the revolutionary Maud Gonne, to whom he unsuccessfully proposed on many occasions. From an early stage, he devoted his energies much less to direct political action than to the cause of an imaginative nationalism which involved him in the collection of folklore (notably in The Celtic Twilight, 1893), in the creation and management of a national theatre for which he wrote a body of plays (five of which presented the epic hero Cchulainn), and in the critical reinterpretation and advancement of the Irish literary tradition.
In 1915 Yeats refused a knighthood from the British government; in 1922 he became a Senator of the newly founded Irish Free State, and finally settled in Dublin with Georgie Hyde-Lees, whom he had married in 1917 and whose automatic writing became the basis of A Vision. In 1917 he also purchased a Norman stone tower in Ballylee, Co. Galway, and this provided the symbolic focus for The Tower (1928) which is, perhaps, his richest collection of poetry. Yeats left a vivid record of his life and of his friends and acquaintances in the volumes which were collected as Autobiographies and in the franker Memoirs (not published until 1972). He died at Roquebrune, France, in January 1939.
Robert Welch is Professor of English at the University of Ulster, Coleraine. He has published Irish Poetry from Moore to Yeats (1980), A History of Verse Translation from the Irish (1988) and Changing States: Transformations in Modern Irish Literature (1993). He is the editor of The Oxford Companion to Irish Literature and was chairman of the International Association for the Study of Anglo-Irish Literature from 1988 to 1991. He has edited a number of volumes of essays, and a book of his poems, Muskerry, appeared in 1991. He is married with four children and lives in Portstewart.
Timothy Webb is General Editor for the works of W. B. Yeats in Penguin Twentieth-Century Classics.
W. B . YEATS
_____________
WRITINGS ON IRISH FOLKLORE,
LEGEND AND MYTH
EDITED WITH AN INTRODUCTION
AND NOTES BY ROBERT WELCH
PENGUIN BOOKS
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This edition first published in Penguin Books 1993
This edition copyright Robert Welch, 1993
The Midnight Court is reprinted with the permission of Scribner, a division of Simon & Schuster, Inc., from Explorations by W. B. Yeats. Copyright 1962 by Mrs W. B. Yeats
Compulsory Gaelic and The Great Blasket are reprinted with the permission of Scribner, a division of Simon & Schuster, Inc., from THE COLLECTED WORKS OF W. B. YEATS, Vol. X, edited by Colton Johnson. Writings by W. B. Yeats copyright 2000 by Anne and Michael Yeats. Editorial matter copyright 2000 by Colton Johnson.
All rights reserved
The moral right of the editor has been asserted
Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publishers prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser
ISBN: 978-0-14-196099-9
I would like to thank the British Academy for a personal research grant, which allowed me to undertake research at the British Library; the Research Subcommittee of the Faculty of Humanities, University of Ulster, under its chairman, Dr John Gillespie, for its assistance; Professor Peter Roebuck; Professor A. N. Jeffares; Dr John Kelly; Dr John Pitcher; Professor Timothy Webb, for guidance and encouragement; Dr Bruce Stewart; Dr Lis Lillie; Mr Philip Tilling; Mr Brian Baggett; Dr Rory McTurk; Dr Daith hgin; Mr Alan Peacock; Van Morrison, for his kind permission to reproduce a verse from Beautiful Vision; Donna Poppy at Penguin; Mrs Elizabeth Holmes; and Mrs Mary McCaughan.
This volume consists of all of Yeatss discursive published writings on Irish folklore, legend and myth, where these topics constitute the main subject of the essay, introduction or sketch. It excludes poetry, drama and prose fiction based on this material, and incidental discussion of it in occult works such as A Vision or in the autobiographical writings. The great bulk of the work presented here was written between 1887 and 1904, the years during which he familiarized himself with Irish tradition, particularly in its folk and legendary aspects. These writings reveal the development of a critical, analytical, and interpretative approach to Irish tradition during this period in particular, but extending beyond it to 1933, when he considered again the scope and quality of life on the islands off the west coast of Ireland. At the outset, as in the discussion and classification of fairies in the late 1880s, there is analysis and youthful fascination, which develops, throughout the 1890s, into a world view of considerable psychological and philosophical depth; until, in the 1900s, this material, and the spiritual, intellectual and cultural interests it generated, became part of the quality of awareness deployed in all his writings.
A pattern of developing complexity is evident in the writings gathered here, for which reason it was decided to present them chronologically, in the order of publication. This decision might seem to involve a major disadvantage: The Celtic Twilight in its two overlapping versions (1893 and 1902) is not presented as a unified text; rather the constituent elements out of which it was originally assembled (on two occasions) are given as they were first printed in newspapers and magazines, thus allowing the reader a clear sense of Yeatss persistent intellectual toil on his material and his increasing mastery of it. The contents of both editions of The Celtic Twilight are given in an appendix. This chronological guideline is breached in a few instances: the note on The Valley of the Black Pig is given in its fullest, not its earliest, form; and in a number of other cases a later version develops an incidental sketch into a free-standing piece, and where this occurs the latter is preferred.
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