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Yeats's commerce with dreams and fairies and other spirits has not all been of this evidential and disputable kind. His confessions do not convince us of his magical experiences, but his poems do. Here we have the true narrative of fairyland, the initiation into other-worldly beauty. Here we have the magician crying out against All things uncomely and broken, all things worn out and old,
Yeats's Celtic Twilight still there are few greater attractions than that of open healthy laughter of the contagious sort; and it would be black ingratitude not to pay tribute to the authoresses of Some Experiences of an Irish R.M. a book that no decorous person can read with comfort in a railway carriage.
With the production of W.B. Yeats's poetic one-act play, The Land of Heart's Desire, at the Avenue Theatre, London, on March 29, 1894, began the modern Irish dramatic movement. When the poet had tasted the joys of the footlights, he longed to see an Irish Literary Theatre realized in Ireland.
Yeats's autobiographical volume, Reveries over Childhood and Youth, that, when he began to write poetry as a boy, "my lines but seldom scanned, for I could not understand the prosody in the books, although there were many lines that, taken by themselves, had music." His genius, as a matter of fact, was unconsciously seeking after new forms.
But his work is now more frankly personal than it used to be at once harsher and simpler. One would not give Responsibilities to a reader who knew nothing of Mr. Yeats's previous work. There is too much raging at the world in it, too little of the perfected beauty of The Wind Among the Reeds. One finds ugly words like "wive" and "thigh" inopportunely used, and the retort to Mr.
It is exactly the other way with creative artists; they grow up faster than the average. The maturity of Keats is astonishing.... Mr. Yeats's wonderful lamentation, September 1913, that sounds like the wailing of the wind, actually gives us a reason why Irishmen are getting the attention of the world in poetry, as well as in fiction and drama.
Yeats's theory of speaking, reciting, or chanting poetry to the psaltery should read his book, Ideas of Good and Evil, which contains some of his most significant articles of faith, written in shining prose. Mr.
Yeats's enforcement of Synge upon the coteries or the choruses as a writer in the great tradition of Homer and Shakespeare. So successful has Mr. Yeats been, indeed, in the exaltation of his friend, that people are in danger of forgetting that it is Mr. Yeats himself, and not Synge, who is the ruling figure in modern Irish literature. One does not criticize Mr. Yeats for this.
We'd have been content with Home Rule before, but we want absolute separation now. We don't want to be associated with a race that makes bargains on bodies!..." "You're doing a damned bad work, John!..." "I'm helping to keep Ireland Irish, Henry!" He paused for a few moments, and then, laughing a little self-consciously, he proceeded. "Do you know that poem of Yeats's?"
She has seven long years of joy and then accepts her fate in the calm, triumphant way of the old heroic times. Yeats's plays reflect the childlike superstitions and lively imagination of his country. He loves the fairies, the dreams of eternal youth, the symbolizing of things of the spirit by lovely things of earth. His plays are poetical, fanciful, and romantic. John Millington Synge.
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