WB Yeats Poems Inspired By Maud Gonne | Indie Author & Poet Orna Ross
Since Yeats often drafted arguments for poems in prose, the distinction is Per Amica Silentia Lunae is bookended by open letters to “Maurice,” Iseult Gonne. Discover ideas about Yeats Poems. WB Yeats spent much of his adult life pursuing the beautiful Irish actress Maud Gonne. Yeats poems and illustrations William. In the early part of his life, Yeats was a Romantic (capital R), heavily influenced by Rossetti, Shelley and other pre-Raphaelites and Romantics.
Pound had discovered Japan together with Yeats, through the papers of the sinologist Ernest Fenellosa Longenbach. Not only do these texts often partake of and rework the same material, they exhibit strong formal connections; not least when pre-empting replies, answering back, or recording conversations.
Some few of these periods occurred while in Rapallo; illness the main reason, in fact, the Yeats family headed for southern coasts. It seems almost in compensation for unaccustomed silence that after such falterings Yeats took up letter-writing with such gusto. Yeats seemed to require such utterances as perpetual continuing dialogues. Exuberant attempts at protean selves, as a result they represent vital testing-grounds for modernism: They were expressions of life, because expressions of voice.
His most intimate letters were handwritten, although with a struggle of eyes and materials often self-consciously recorded: Many years before he had adopted a practice for business letters of dictation to a secretary, startling his publisher A.
Bullen with his frankness. It is one that concerns modern poetry: Yeats had written uncertainly to his wife George 25 February As the same letter records, Pound was writing to Jean Cocteau for his version of Antigone produced in Paris with Tiresias played by Anton Artaud, set design and masks by Picasso, and music by Arthur Honegger which Yeats hoped to get for the Abbey as sequel to his recent translations of Sophocles.
It was not just Pound who could make it new. In Rapallo, as in his book, Yeats was placing himself in the company of European modernists, having inserted himself into a radical avant-garde network, while retaining a just-plausible deniability about their politics. A Packet is more circumspect and more engaging: Have you read Wyndham Lewis? My essay takes up the controversy and explains Ezra Pound sufficiently to keep him as a friendly neighbour.
Letters 26Much as Yeats evidently enjoyed these controversies, his treachery did not extend to a permanent switching of camps. Safely back in Rapallo after a summer absence, he wrote to Lewis 5 November I'm dictating this to my wife as my eyes are for the moment out of sorts. I wish very much I could have gone to tea with you and seen your work but my last days in London […] were as full as I dared make them considering my still rather damaged state.
In a section removed from A Vision, he attempts to come to terms with the modern age: I was wrong about Ulysses when I had read but some first fragments, and I do not want to be wrong again. Perhaps when the sudden Italian spring has come I may have discovered what will seem all the more, because the opposite of all I have attempted, unique and unforgettable.
Vision 28The admission is striking, and plays its part in a strategy of criticism and approbation suggested but withheld. In a literal sense this was true. From Coole he wrote to his wife: Many thanks for the Balzac, it comes in the nick of time for I have begun my essay on Ezra.
To day I find however that the envelope with Cavalcanti written on it contains only the Italian. Balzac, however, represented familiar territory. As before the tactic often employed is intertextuality.
In Rapallo, however, in prose that comes close to poetry, Nietzsche had composed a visionary text, Thus Spake Zarathustra, propounding a new philosophy in almost religious language. Nietzsche had composed his text walking the mountain paths of Rapallo; Pound visited the musician Olga Rudge on the same paths. This silent tribute is also an act of repression, showing his emulation and adopting of new forms and casts of thought, but also a determination to make them his own.
A Packet Part 2 etc.: But one thing might be noted: With George Yeats in half-trance, the unknown instructors required prompting: Indeed the very difficulty of this communication remained a theme.
While the text is divided principally into three, originally an extra part was included. Inevitably these are question and answer poems: Precise dates written beneath attach the poems to the texture of the rest; their probing questions and answers ensure poems are part of the continuing dialogue.
In his opposite Yeats recognises his own image, and his partial portrait of Pound becomes an unexpected self-portrait. Nonetheless his attempts to unify these voices into a protean discourse belonging to one man, something T.
Important then to pluck creative work from what appeared a necessary antagonism.
Not necessarily just for Yeats, but for Pound too, as a letter written as the book was finished demonstrates 21 January Now that the philosophy is finished I am writing prose drafts for poems […] the start after a long interval — is always difficult.
We disagree about everything but if we have not met for 24 hours he calls full of gloomy and almost dumb aggression. A Packet, though, proceeds more by strategic uncertainty than direct contradiction. It thus opened space for new work. Likewise the book will not be boxed into one genre, will not properly introduce a book which is not there, will not be tied to univocal conclusions. Its appearance in represents a prod, a provocation, a revaluation. When finally published as part of A Visionits status as paratextual paraphernalia magnifies its occult strangeness if not its dialogic texture, while muting to most readers its aesthetic purpose.
Even then its meaning cannot be circumscribed. No final answer is provided. Bibliographie Adams, Steve L. Sprayberry et al, editors. Genre, Allusion, and History. The Late William Butler Yeats. A Critical Anthology, edited by William H. Four Essays, edited by Michael Holquist. University of Texas Press, The Wisdom of Two. Pound, Yeats, and Modernism.
The Works of Friedrich Nietzsche, Vol. Yeats, Music and Meaninglessness. Clemson UP,pp. Antheil; and the Treatise on Harmony. The Hogarth Press, The Diary of Virginia Woolf Volume 4: The Essays of Virginia Woolf. The Collected Works of W. III, edited by William H. Paul and Margaret Mills Harper. Yeatswho fell in love with her. In she returned to France where she once again met Millevoye and had a son, Georges, with him. Georges died, possibly of meningitisin Gonne was distraught, and buried him in a large memorial chapel built for him with money she had inherited.
Her distress remained with her; in her will she asked for Georges's baby shoes to be interred with her, but made no mention of the daughter born a few years after him.
In Dublin, London and Paris she was attracted to the occultist and spiritualist worlds deeply important to Yeats, asking his friends about the reality of reincarnation. In she briefly joined the Hermetic Order of the Golden Dawna magical organisation with which Yeats had involved himself. Her purpose was to conceive a baby with the same father, to whom the soul of Georges would transmigrate in metempsychosis.
At age 23, Iseult was proposed to by thenyear-old William Butler Yeats, and she had a brief affair with Ezra Pound.Maud Gonne and the Occult - PAGES OUT OF IRISH HISTORY Episode 3
During the s Gonne travelled extensively throughout England, WalesScotland and the United States campaigning for the nationalist cause, forming an organization called the "Irish League" L'association irlandaise in Gonne, in opposition to the attempts of the British to gain the loyalty of the young Irish during the early s, was known to hold special receptions for children.
They decided to "combat in every way English influence doing so much injury to the artistic taste and refinement of the Irish people. She portrayed Cathleen, the "old woman of Ireland," who mourns for her four provinces, lost to the English colonizers. She was already spending much of her time in Paris. She refused many marriage proposals from Yeats, not only because he was unwilling to convert to Catholicism or because she viewed him as insufficiently radical in his nationalismbut also because she believed his unrequited love for her had been a boon for his poetry and that the world should thank her for never having accepted his proposals.
Marriage would be such a dull affair. Poets should never marry. The world should thank me for not marrying you.
William Butler Yeats and Maud Gonne – Ireland Calling
Afterwards Gonne and her husband agreed to end their marriage. She demanded sole custody of their son, but MacBride refused, and a divorce case began in Paris on 28 February A divorce was not granted, and MacBride was given the right to visit his son twice weekly.
After the marriage ended, Gonne made allegations of domestic violence and, according to W. Yeats, of sexual molestation of Iseult, her daughter from a previous relationship, then aged eleven.
Neither the divorce papers submitted by Gonne nor Iseult's own writings mention any such incident, which is unsurprising, given the reticence of the times around such matters, but Frances Stuart, Iseult's later husband, attests to Iseult telling him about it.
Anthony MacBride, John's brother. Though Maud omitted it from court proceedings, the MacBride side raised it in court to have John's name cleared. As Maud wrote to Yeats, MacBride succeeded in this. Nevertheless, Yeats and some of his biographers still insisted on traducing John MacBride, insisting that Iseult was a victim. Some of them have gone so far as to omit entirely the fact that MacBride raised the matter in Court and was cleared by the Court of this allegation. He had known her since she was four, and often referred to her as his darling child and took a paternal interest in her writings.
Many Dubliners wrongly suspected that Yeats was her father. Gonne raised the boy in Paris.