New sources of life: William Butler Yeats’s “The Gyres”, “Lapis Lazuli” and “Imitated From the Japanese”

The Irish poet William Butler Yeats was awarded the Nobel Prize for Literature in 1923 by the Royal Swedish Academy “for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation”1. The article focuses specifically on three poems from Yeats’s “modernist” period which he included in the cycle New Poems (1938): “The Gyres”, “Lapis Lazuli” and “Imitated from the Japanese”. These later writings emerge as a logical consequence of his previous engagement with philosophy and occultism, mythology and history, art and reality. Yeats’s strenuous efforts to forge mythopoeic stereotypes seem to transcend mere personal versions of myth in an attempt to discover deeper levels of meaning, and to complete the self-image he developed throughout his life. In his later works he managed to make meaningful pronouncements on key moral and philosophical issues relating to the human condition.

Seanchan 's Quest Restoring of the Poet's Right in Yeasts' Play The King's Threshold

William Butler Yeats (1865-1939), the prominent Irish poet and dramatist was one of the foremost figures of twentieth-century literature. He was a driving force behind the Irish Revival, and together with lady Gregory and Edward Martyn established the Abby Theatre, and served as its chief playwright during its early years. He was awarded the Noble Prize in literature for his always inspired poetry which in a highly artistic form gave expression to the spirit of a whole nation. The paper aims at analyzing the poet's quest for social freedom and poet's right in the state. The King's Threshold was first performed by the Irish National Theatre Society at the Molesworth Hall, in Dublin on 7 October, 1903. It is founded upon a Midieval-Irish story of the demands of the poets at the court of King Guaire at Gort, Co. Galway; it was also influenced by Edwin Ellis's play Sancan the bard (1905) which was published ten years earlier, by Edwin Ellis.

Textual Analysis of the Poem Sailing to Byzantium

This article attempts to accomplish a textual analysis of the poem Sailing to Byzantium composed by William Butler Yeats. The textual analysis incorporates the analysis of divergent aspects existed in a text. The crucial aspects are: the title of the poem, substance of the poem, form of the poem, tone of the speaker, sound devices, literary devices, diction, syntax, mode of expression, themes and so on. The article writer has tried to descry these aspects to analyze them in brief. This article, which involves the interpretation of the poem from the perspective of its texture, is significant to teachers and students who are engrossed in studying English poetry.

WILLIAM BUTLER YEA AM BUTLER YEATS` INDIVIDU S` INDIVIDUAL POETIC STYLE

Introduction. William Butler Yeats is widely considered to be one of the greatest poets of the XX century. He was one of the modern poets, who influenced his contemporaries as well as successors. He felt like a stranger in the world of technology and rationalists. A traditionalist, constantly ahead of his contemporaries, Yeats is rightfully considered one of the major poets of XX century world literature. Research methods. In this article we are intended to learn and form evolutional background of the author`s individual poetic style. Sense of moral wholeness and humanity of the prominent poet is discussed. Through analysis of his poems creative way, peculiarities of his style, and interpretation of symbols, their connection with the author's intellectual condition have been studied. While commenting on his poetry we have tried to realize his individual poetic style and the evolutional path to its formation

El sueño en la penúltima escena en la película No country for old men de los Hermanos Coen y una interpretación del poema Sailing to Byzantium de William Butler Yeats

La presente investigación propone una lectura de la penúltima escena de la película: No country for old men (No es país para viejos) (2007) de los hermanos Joel y Ethan Coen. El filme es una adaptación de la novela homónima de Cormac McCarthy (2005), y ésta, a su vez, es una interpretación del poema Sailing to Byzantium de William Butler Yeats (1928). Si bien el resultado cinematográfico guarda una relación directa con la novela, también lo hace con el poema, pero no de manera evidente. De modo que el presente texto analiza tanto la penúltima escena de la película como el poema, para platear una relación entre ellos.

The Stones of Venice: Lady Augusta Gregory and John Ruskin

John Ruskin’s diaries, letters, lectures and published works are testimonies to his life-long interest in Venetian art and architecture. Lady Augusta Gregory of Coole Park, County Galway, Ireland, was amongst those Victorian genteel women who were influenced by Ruskin’s account of the political and artistic history of Venice, following in Ruskin’s footsteps during her visits to Sir Henry Austen Henry and Lady Enid Layard at Ca’ Capello on the Grand Canal. This article follows Lady Gregory’s footsteps around the maritime city, where she was often found sketching architectural details of churches and palaces. By doing so, it reveals the extent of the influence of Ruskin’s Italian travels on the formation of Lady Gregory’s aesthetic sensibilities during the 1880s and 1890s, before she founded the Abbey Theatre in Dublin with the Irish dramatist John Millington Synge and the Irish poet and dramatist William Butler Yeats in 1904. As part of the discussion, it reveals the true subject matter in one of Lady Gregory’s Venetian sketches for the first time, one that is now held in Dublin at the National Library of Ireland.