YEATS’S LEGACIES Edited by WARWICK GOULD Yeats Annual No. 21: A Special Issue To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/724 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. In the same series YEATS ANNUALS Nos. 1, 2 Edited by Richard J. Finneran YEATS ANNUALS Nos. 3–8, 10–11, 13 Edited by Warwick Gould YEATS AND WOMEN YEATS ANNUAL No. 9: A Special Number Edited by Deirdre Toomey THAT ACCUSING EYE : YEATS AND HIS IRISH READERS YEATS ANNUAL No. 12: A Special Number Edited by Warwick Gould and Edna Longley YEATS AND THE NINETIES YEATS ANNUAL No. 14: A Special Number Edited by Warwick Gould YEATS ’S COLLABORATIONS YEATS ANNUAL No. 15: A Special Number Edited by Wayne K. Chapman and Warwick Gould POEMS AND CONTEXTS YEATS ANNUAL No. 16: A Special Number Edited by Warwick Gould INFLUENCE AND CONFLUENCE YEATS ANNUAL No. 17: A Special Number Edited by Warwick Gould THE LIVING STREAM YEATS ANNUAL No. 18: A Special Issue Essays in Memory of A. Norman Jeffares Edited by Warwick Gould Freely available at http://www.openbookpublishers.com/product/194 YEATS ’S MASK YEATS ANNUAL No. 19: A Special Issue Edited by Margaret Mills Harper and Warwick Gould Freely available at http://www.openbookpublishers.com/product/233 ESSAYS IN HONOUR OF EAMONN CANTWELL YEATS ANNUAL No. 20: A Special Number Edited by Warwick Gould Freely available at https://www.openbookpublishers.com/product/380 YEATS ANNUAL No. 21 W. B. Yeats in the fin de siècle . The Elliot & Fry image, purchased from an untraced picture archive. From pencilled notes on the verso, the image was copyrighted to Elliot & Fry, and each reproduction incurred a fee of 14/– to the London Electrotype Agency. A fee of that sum had been paid for Richardson, ‘The World Writers’, perhaps a series in an untraced periodical, and the image had been filed with ‘English Portraits of Yeats’. © Private Collection, London, all rights reserved. YEATS’S LEGACIES YEATS ANNUAL No. 21 A Special Issue Edited by Warwick Gould in association with the Institute of English Studies School of Advanced Study, University of London http://www.openbookpublishers.com © 2018 Warwick Gould. Copyright of individual chapters is maintained by the chapters’ authors. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Warwick Gould (ed.), Yeats’s Legacies: Yeats Annual No. 21 . Cambridge, UK: Open Book Publishers, 2018. https://doi.org/10.11647/OBP.0135 In order to access detailed and updated information on the license, please visit https://www. openbookpublishers.com/product/724#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ All the external links were active on 22/03/2018 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. For the full copyright statement relating to each image, please refer to the list of illustrations. Updated digital material and resources associated with this volume are available at https://www. openbookpublishers.com/product/724#resources ISBN Paperback: 978-1-78374-454-1 ISBN Hardback: 978-1-78374-455-8 ISBN Digital (PDF): 978-1-78374-456-5 ISBN Digital ebook (epub): 978-1-78374-457-2 ISBN Digital ebook (mobi): 978-1-78374-458-9 DOI: 10.11647/OBP.0135 Cover image: Yeats Annual Fleuron (Front Cover, Spine, Dedication Page) Based upon Thomas Sturge Moore’s rose design as used in his illustrations for H. P. R. Finberg’s translation of Count Villiers de L’Isle Adam’s Axel with Yeats’s preface (London: Jarrolds Publishers Ltd., 1925), and elsewhere on cover designs for Yeats’s books, most notably that for Per Amica Silentia Lunae (1918), this fleuron was created courtesy of the late Riette Sturge Moore. Front Cover Vignette: The hawk is taken from the top-board of Responsibilities and Other Poems (London: Macmillan, 1916), Private Coll., London, Image Warwick Gould. The design is by Thomas Sturge Moore, showing Yeats’s change of livery when he moved his books to Macmillan as his principal trade publisher. The book was published on 10 October 1916, the same day as that firm issued his Reveries over Childhood and Youth , also with a Sturge Moore cover-design. Cover design: Anna Gatti. All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), PEFC (Programme for the Endorsement of Forest Certification Schemes) and Forest Stewardship Council(r)(FSC(r) certified. Printed in the United Kingdom, United States and Australia by Lightning Source for Open Book Publishers (Cambridge, UK). The Editor dedicates his work on this volume to WILLIAM H. O’DONNELL in gratitude for his meticulous textual scholarship and restless curiosity in annotation Contents List of Illustrations xiii Abbreviations xix Editorial Board xxvii Notes on Contributors xxix Editor’s Introduction xxxv Acknowledgements and Editorial Information lxix ESSAYS How Yeats Learned to Scan HANNAH SULLIVAN 3 EASTER 1916 DENIS DONOGHUE 39 The Invisible Hypnotist: Myth and Spectre in Some Post-1916 Poems and Plays by W. B. Yeats ANITA FELDMAN 63 ‘Satan, Smut & Co.’: Yeats and the Suppression of Evil Literature in the Early Years of the Irish Free State WARWICK GOULD 123 ‘Uttering, mastering it’? Yeats’s Tower, Lady Gregory’s Ballylee, and the Eviction of 1888 JAMES PETHICA 213 Fighting Spirits: W. B. Yeats, Ezra Pound, and the Ghosts of The Winding Stair (1929) LAUREN ARRINGTON 269 W. B. Yeats and the Problem of Belief (with an Afterword, ‘The Centaur and the Daimon’ by WARWICK GOULD ) CATHERINE E. PAUL 295 Charles Williams and W. B. Yeats GREVEL LINDOP 317 Shakespeare in Purgatory : ‘A Scene of Tragic Intensity’ STANLEY VAN DER ZIEL 355 The Textual History of Yeats’s On the Boiler WILLIAM H. O’DONNELL 391 RESEARCH UPDATES Maud Gonne’s Fictional Affair: ‘A Life’s Sketch’ Edited and with notes by JOHN KELLY 449 Conflicted Legacies: Yeats’s Intentions and Editorial Theory WARWICK GOULD 479 REVIEW ESSAYS AND REVIEWS ‘Both beautiful, one a gazelle’: An Essay reviewing Sonja Tiernan, Eva Gore-Booth: An Image of Such Politics and Lauren Arrington, Revolutionary Lives: Constance and Casimir Markievicz DEIRDRE TOOMEY 545 W. B. Yeats, On Baile’s Strand: Manuscript Materials , ed. by Jared Curtis and Declan Kiely RICHARD ALLEN CAVE 557 W. David Soud, Divine Cartographies: God, History and Poeisis in W. B. Yeats, David Jones, and T. S. Eliot GREVEL LINDOP 563 Yeats, Philosophy, and the Occult , ed. by Matthew Gibson and Neil Mann R. A. GILBERT 569 Alexander Bubb, Meeting Without Knowing It: Kipling and Yeats at the Fin de Siècle JAD ADAMS 575 Emily C. Bloom, The Wireless past: Anglo-Irish Writers and the BBC, 1931–1968 EMILIE MORIN 579 Ezra Pound, Posthumous Cantos , ed. by Massimo Bacigalupo STODDARD MARTIN 585 Adrian Frazier, The Adulterous Muse: Maud Gonne, Lucien Millevoye and W. B. Yeats with an Afterword by DEIRDRE TOOMEY STODDARD MARTIN 589 Publications Received 599 xiii List of Illustrations Note: All enquiries regarding copyrights in individual plates should be made c/o the editor at Warwick.gould@sas.ac.uk. Yeats Annual Fleuron (Front Cover, Spine, Dedication Page) Based upon Thomas Sturge Moore’s rose design as used in his illustrations for H. P. R. Finberg’s translation of Count Villiers de L’Isle Adam’s Axel with Yeats’s preface (London: Jarrolds Publishers Ltd., 1925), and elsewhere on cover designs for Yeats’s books, most notably that for Per Amica Silentia Lunae (1918), this fleuron was created courtesy of the late Riette Sturge Moore. Front Cover Vignette : The hawk is taken from the top-board of Responsibilities and Other Poems (London: Macmillan, 1916), Private Coll., London, Image Warwick Gould. The design is by Thomas Sturge Moore, showing Yeats’s change of livery when he moved his books to Macmillan as his principal trade publisher. The book was published on 10 October 1916, the same day as that firm issued his Reveries over Childhood and Youth , also with a Sturge Moore cover-design. Frontispiece W. B. Yeats in the fin de siècle . From pencilled notes on the verso, this hitherto unknown image had been copyrighted to Elliot & Fry, and each reproduction incurred a fee of 14/– to the London Electrotype Agency. A fee of that sum had been paid for Richardson, ‘The World Writers’, perhaps a series in an untraced periodical, and the image had been filed with ‘English Portraits of Yeats’ in some newspaper picture archive. © Private Collection, London, all rights reserved. Plates 1. Yeats family snapshot c. 1927, of Thoor Ballylee and its cottages, taken from the ‘acre of stony ground’ or cabbage patch over the road. Image courtesy Private Collection London. xxxvi 2. Plate 1 cropped to approximate the ‘view’ of the tower and cottages depicted in Plate 3. Image courtesy Private Collection London. xxxvii xiv List of Illustrations 3. The cropped centre panel of Thomas Sturge Moore’s top board for The Tower (1928). Image courtesy Private Collection, London. xxxvii 4. Yeats family heirlooms as clustered by Sotheby’s, London, for the frontispiece of their Yeats: The Family Collection , the catalogue accompanying the sale of that name on 27 September 2017. Image courtesy Philip Errington, and © Sotheby’s, New Bond St., London, all right reserved. xlii 5. Antonio Mancini’s 1908 pastel portrait of W. B. Yeats used as the basis for the frontispiece to Vol. V of The Collected Works in Verse and Prose (1908). Image courtesy Philip Errington, and Sotheby’s, New Bond St., London. xlviii 6. John Butler Yeats oil portrait of W. B. Yeats in a basket chair, reading in the overgrown garden at 3 Blenheim Rd., Bedford Park, London, c. 1888–1889. Image courtesy Philip Errington, and Sotheby’s, New Bond St., London. xlix 7–8. Two images of pages from Yeats’s ‘10 Ashfield Terrace’ sketchbook, lot 70 in the Sotheby’s sale, courtesy Philip Errington, and Sotheby’s, New Bond St., London. li 9. Image of page facing Plate 7 in Yeats’s ‘10 Ashfield Terrace’ sketchbook, lot 70 in the Sotheby’s sale, courtesy Philip Errington, and Sotheby’s, New Bond St., London. liii 10. Image of page from Yeats’s ‘10 Ashfield Terrace’ sketchbook, lot 70 in the Sotheby’s sale, courtesy Philip Errington, and Sotheby’s, New Bond St., London. liv 11. Image of fragment of verse in Yeats’s ‘10 Ashfield Terrace’ sketchbook, lot 70 in the Sotheby’s sale, courtesy Philip Errington, and Sotheby’s, New Bond St., London. lv 12. Jack B. Yeats’s drawing ‘ MAKE PROVISION FOR YOUR OLD AGE!!!! ’ from an undated letter to Lady Gregory as illustrated for lot 416, Figgis Rare Books catalogue, c. 1982–1996 (Private Collection, London). Image courtesy Mr. Neville Figgis, House of Figgis Rare Books, Letterfrack, Co. Galway. Present whereabouts of original unknown. lxiv 13. Centre fold of Pears’ Annual, 1925, with an illuminated design for ‘“The Cherry Tree”: English Carol by Cecil J. Sharp’. Decorated by (Richard) Kennedy North. Image courtesy Private Collection, London. 127 xv YEATS ANNUAL 21 14. Front Cover, the Irish Independent , 11 October 1927. Image courtesy National Library of Ireland. 132 15. Cuchulain slays the dragon of ‘Tainted Literature: Front Cover of Our Boys Annual 1915. Image courtesy Christian Brothers Province Centre, Dublin. 136 16. Brother Canice Craven at his Editor’s desk, shining the light of Angelic Warfare onto a waste-paper basket ready to receive ‘devilish literature coming into this country’, with his Editor’s notes below. From Our Boys , 4 September 1924. Image courtesy Christian Brothers Province Centre, Dublin. 146 17. Detail, Plate 14, of the Irish Independent , 11 October 1927. Image courtesy National Library of Ireland. 147 18. The Pears’ Annual book-burning as imagined by ‘G. A.’, Our Boys , 5 February 1925, 499, and as preserved in the Evil Literature files, National Archives, Dublin. Image courtesy the National Archives of Ireland, Dublin. 149 19. Front page of To-Morrow 1:1, August 1924. Private Collection, London. Image courtesy Warwick Gould. 161 20. ‘Leda and the Swan’, as printed in To-morrow , August 1924, 2. Private Collection, London. Image courtesy Warwick Gould. 164 21. ‘To all Artists and Writers’, manifesto or editorial, as printed in To-morrow , August 1924, 4. Private Collection, London. Image courtesy Warwick Gould. 167 22. ‘An Old Poem Re-written’ in its original placement , followed by Oliver St. John Gogarty’s ‘To Some Spiteful Persons’ in The Irish Statesman , 8 November 1924 (266–67). Image courtesy the National Library of Ireland, Dublin. 173 23. Galley Proofs of Early Poems and Stories (1925), corrected by Yeats. Image courtesy The Henry W. And Albert A. Berg Collection, New York Public Library (Astor, Lenox, and Tilden Foundations). 175 24. Detail of Plate 23. Image courtesy The Henry W. And Albert A. Berg Collection, New York Public Library (Astor, Lenox, and Tilden Foundations). 176 25. Further Detail of Plate 23. Image courtesy The Henry W. And Albert A. Berg Collection, New York Public Library (Astor, Lenox, and Tilden Foundations). 177 xvi List of Illustrations 26 a-b. The Cherry-Tree Carol’, Cuala Press Broadside version (No. 7, December 1909), illustrated by Jack B. Yeats, the final three stanzas of which are on the following page (detail). Images courtesy Digital Library@Villanova University. 184 27. Douglas Hyde’s parallel text Irish and English versions taken down in Mayo. From Religious Songs of Connacht (1906, 280–81). Private Collection, London. Image courtesy Warwick Gould. 185 28–29. Two ‘Black Lists’ from the ‘Evil Literature’ papers, a printed and subsequently (26b.) a typed list of ‘Some Objectionable Papers and Periodicals’, showing the addition of Pears’ Annual. Images courtesy the National Archives of Ireland, Dublin. 189 30. Titian’s ‘Sacred and Profane Love’ (1514), Borghese Gallery, Rome. Image Wikimedia Commons, https://commons. wikimedia.org/wiki/File:Tiziano_-_Amor_Sacro_y_Amor_ Profano_(Galer%C3%ADa_Borghese,_Roma,_1514).jpg 195 31. Sketches made by Lady Gregory at Ballylee, 14 August 1895. None of the Cunninghams’ daughters are identified as ‘Maud’ on the 1901 Census, so this may have been a nickname or Gregory’s error for ‘Margaret’ (aged about 6 in 1895). Image courtesy Colin Smythe. 217 32. Possibly Yeats’s first written mention of Ballylee in a manuscript revision of ‘Ballykeele’ to ‘Ballylee’ in the printed text of AE ’s poem ‘The Well of All-Healing’, in Lady Gregory’s copy of A Celtic Christmas (The Irish Homestead Christmas No.) 1897. Image courtesy John J. Burns Library, Boston College. 219 33. ‘Mr Brennan singing Great Coole Demesne’ by ‘E. P.’ (probably Lady Gregory’s sister in-law, Eleanor Persse) circa. 1888. Image courtesy the Henry W. and Albert A. Berg Collection (Astor, Lenox, and Tilden Foundations), New York Public Library. 225 34. Ballylee Castle, detail of sketch by Lady Gregory dated 14 August 1895 (see above, Plate 31). Image courtesy Colin Smythe. 227 35. The Millwheel and Tower at Ballylee, Sketches by Lady Gregory, n.d. Image courtesy Colin Smythe. 228 36. Elizabeth Cunningham (c. 1890-d. 1945) late in life. Image courtesy Private Collection, Ireland. 235 37. Abbey Theatre Programme for King Lear , 27 October 1930 and following nights. Image courtesy James Hardiman Library, NUI , Galway. 367 xvii YEATS ANNUAL 21 38–39. Set designs for King Lear , Abbey Theatre, November 1928 by Dorothy Travers Smith. Images courtesy James Hardiman Library, NUI , Galway. 369 40. Detail of typescript letter from W. B. Yeats to F. R. Higgins, December 1938 ( HRHRC , Yeats Collection, Box 6, Folder 7). Image courtesy the Harry Ransom Humanities Research Center, Texas. 418 41. Jack B. Yeats: Original Drawing for front cover of On the Boiler , with Jack Yeats’s instruction ‘To Block Maker Please keep original drawing Clean’. Image courtesy Philip Errington, and Sotheby’s, New Bond St., London. 426 42. Constance and Eva Gore-Booth at the opening of the Drumcliffe Co-Operative Creamery c. 1895. Image Courtesy Sligo County Museum and Library. 546 xix Abbreviations Au Autobiographies (London: Macmillan, 1955). AVA A Vision: An Explanation of Life Founded upon the Writings of Giraldus and upon certain Doctrines attributed to Kusta Ben Luka (London: privately printed for subscribers only by T. Werner Laurie, Ltd., 1925) See also CVA. AVB A Vision (London: Macmillan, 1962). Berg Books and Manuscripts, The Henry W. and Albert A. Berg Collection, New York Public Library (Astor, Lenox, and Tilden Foundations). BG Ann Saddlemyer, Becoming George: The Life of Mrs W. B. Yeats (Oxford: Oxford University Press, 2002). BIV1, 2 A Book of Irish Verse selected from Modern Writers with an Introduction and Notes by W. B. Yeats (London: Methuen, 1895, 1900 BL Add. MS Additional Manuscript, The British Library, London (followed by number). BL Macmillan Later papers from the Macmillan Archive, British Library, London. Bodley Bodleian Library, Oxford. Bradford Curtis B. Bradford, Yeats at Work (Carbondale and Edwardsville: Southern Illinois University Press, 1965). Brotherton Manuscript, The Brotherton Collection, Brotherton Library, University of Leeds. CH W. B. Yeats: The Critical Heritage , ed. by A. Norman Jeffares (London: Henley; Boston: Routledge & Kegan Paul, 1977). ChronY A W. B. Yeats Chronology by John S. Kelly (Basingstoke: Palgrave Macmillan, 2003).