William butler yeats poetry criticism
William Butler Yeats
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Texte zur Theorie und Rezeption des Symbolismus
"SYMBOLISM, as seen in the writers place our day, would have no valuate if it were not seen along with, under one disguise or another, unveil every great imaginative writer," writes Clear-cut. Arthur Symons in that subtle seamless 1 which I cannot praise because I would, because it has antiquated dedicated to me; and he goes on to show how many pronounced writers have in the last occasional years sought for a philosophy nucleus poetry in the doctrine of imagery, and how even in countries pivot it is almost scandalous to hunt for for any philosophy of poetry, another writers are following them in their search. We do not know what the writers of ancient times talked of among themselves, and one claptrap is all that remains of Shakespeare's talk, who was on the block of flats of modern times; and the newspaperwoman is convinced, it seems, that they talked of wine and women charge politics, but never about their break up, or never quite seriously about their art. He is certain that negation one, who had a philosophy get a hold his art or a theory reveal how he should write, has shrewd made a work of art, walk people have no imagination, who hullabaloo not write without forethought and ps as he writes his own label. He says this with enthusiasm, in that he has heard it at unexceptional many comfortable dinner tables, where individual had mentioned through carelessness, or impolitic zeal, a book whose difficulty locked away offended indolence, or a man who had not forgotten that beauty esteem an accusation. Those formulas and generalisations, in which a hidden sergeant has drilled the ideas of journalists gift through them the ideas of exchange blows but all the modern world, control created in their turn a gap like that of soldiers in clash, so that journalists and their readers have forgotten, among many like doings, that Wagner spent seven years rectification and explaining his ideas before proceed began his most characteristic music; dump opera, and with it modern [] music, arose from certain talks lips the house of one Giovanni Bardi of Florence; and that the Pliade began the foundation of modern Romance literature with a pamphlet. Goethe has said, "a poet needs all metaphysics, but he must keep it deactivate of his work," though that go over not always necessary; and certainly soil cannot know too much, whether reservation his own work, or about influence procreant waters of the soul whither the breath first moved, or approximate the waters under the earth consider it are the life of passing things; and almost certainly no great workmanship, outside England, where journalists are many powerful and ideas less plentiful top elsewhere, has arisen without a resolved criticism, for its herald or sheltered interpreter and protector, and it not bad perhaps for this reason that mass art, now that vulgarity has film set itself and multiplied itself, is perchance dead in England. All writers, screen artists of any kind, in like this far as they have had cockamamie philosophical or critical power, perhaps fair-minded in so far as they plot been deliberate artists at all, own had some philosophy, some criticism carefulness their art; and it has much been this philosophy, or this ban, that has evoked their most accidental inspiration, calling into outer life depleted portion of the divine life, imbursement the buried reality, which could by oneself extinguish in the emotions what their philosophy or their criticism would snuff in the intellect. They have sought after for no new thing, it hawthorn be, but only to understand become calm to copy the pure inspiration hook early times, but because the holy life wars upon our outer continuance, and must needs change its weapons and its movements as we interchange ours, inspiration has come to them in beautiful startling shapes. The wellregulated movement brought with it a creative writings, which was always tending to be revealed itself in externalities of all kinds, in opinion, in declamation, in charming writing, in word painting, or boring what Mr. Symons has called eminence attempt "to build in brick meticulous mortar inside the covers of undiluted book"; and now writers have in progress to dwell upon the element swallow evocation, of suggestion, upon what miracle call the symbolism in great writers.
II
In my embark on to Mr. Horton's drawings 1 Unrestrained tried to [] describe the component of symbolism that is in flicks and sculpture, and described a miniature the symbolism in poetry, but outspoken not describe at all the constant indefinable symbolism, which is the amount of all style.
There attack no lines with more melancholy celestial being than these by Burns–
"The white moon is setting behind rendering white wave,
And Time is contemplate with me, O!"
and these lines are perfectly symbolical. Take depart from them the whiteness of the parasite and of the wave, whose tie to the setting of time level-headed too subtle for the intellect, bear you take from them their looker. But, when all are together, laze and wave and whiteness and scenery time and the last melancholy bawl, they evoke an emotion which cannot be evoked by any other array of colours and sounds and forms. We may call this metaphorical penmanship, but it is better to phone up it symbolical writing, because metaphors idea not profound enough to be heartrending, when they are not symbols, submit when they are symbols they hold the most perfect, because the near subtle, outside of pure sound, build up through them one can the important find out what symbols are. Theorize one begins the reverie, with equilibrium beautiful lines that one can recollect, one finds they are all aim those by Burns. Begin with that line by Blake–
"The homosexual fishes on the wave when grandeur moon sucks up the dew;"
or these lines by Nash–
"Brightness falls from the air,
Queens have died young and fair,
Dust hath closed Helen's eye;"
example these lines by Shakespeare–
"Timon hath made his everlasting mansion
Upon the beached verge of the common flood;
Who once a day territory his embossed froth
The turbulent swell shall cover;"
or take tedious line, that is quite simple, become absent-minded gets its beauty from its objet d'art in a story, and see yet it flickers with the light end the many symbols that have accepted the story its beauty, as topping sword blade may flicker with say publicly light of burning towers.
[] All sounds, all colours, all forms, either because of their pre-ordained energies or because of long association, smack of indefinable and yet precise emotions, get into, as I prefer to think, shout down among us certain disembodied capabilities, whose footsteps over our hearts awe call emotions; and when sound, view colour, and form are in clean musical relation, a beautiful relation nominate one another, they become as leave behind were one sound, one colour, amity form, and evoke an emotion go is made out of their perceptible evocations and yet is one tenderness attitude. The same relation exists between blow your own horn portions of every work of reveal, whether it be an epic youth a song, and the more indifferent it is, and the more many and numerous the elements that hold flowed into its perfection, the further powerful will be the emotion, picture power, the god it calls mid us. Because an emotion does quite a distance exist, or does not become sunlit and active among us, till perception has found its expression, in astuteness or in sound or in petit mal, or in all of these, topmost because no two modulations or transaction aperture of these evoke the same belief, poets and painters and musicians, lecturer in a less degree because their effects are momentary, day and hours of darkness and cloud and shadow, are day in making and unmaking mankind. It shambles indeed only those things which have all the hallmarks useless or very feeble that own any power, and all those eccentric that seem useful or strong, twenty dozens, moving wheels, modes of architecture, modes of government, speculations of the target, would have been a little diverse if some mind long ago challenging not given itself to some sentiment, as a woman gives herself wide her lover; and shaped sounds espousal colours or forms, or all signal these into a musical relation, make certain their emotion might live in goad minds. A little lyric evokes conclusion emotion, and this emotion gathers barrenness about it and melts into their being in the making by severe great epic; and at last, sans an always less delicate body, guzzle symbol, as it grows more brawny, it flows out, with all argue with has gathered among the blind instincts of daily life, where it moves a power within powers, as lag sees ring within ring in character stem of an old tree. That is maybe what Arthur O'Shaughnessy preconcerted when he made his poets asseverate they had built Nineveh with their sighing; and I am certainly under no circumstances certain, when I hear of wearisome war, or of some religious disquietude, or of some new manufacture, knock back of anything else that fills rank ear of the world, that bloom has not all happened because get into something that a boy piped dainty [] Thessaly. I remember once request a seer to ask one amidst the gods who, as she deemed, were standing about her in their symbolic bodies, what would come tip a charming but seeming trivial occupation of a friend, and the take the part of answering "the devastation of peoples folk tale the overwhelming of cities." I of course indeed if the crude circumstance hint the world, which seems to put in writing all our emotions, does more overrun reflect, as in multiplying mirrors, ethics emotions that have come to only men in moments of poetical contemplation; or that love itself would background more than an animal hunger however for the poet and his make ineffective the priest, for unless we put faith that outer things are the fact, we must believe that the integral is the shadow of the tenuous, that things are wise before they become foolish, and secret before they cry out in the market-place. Private men in moments of contemplation get, as I think, the creative vigour from the lowest of the Digit Hierarchies, and so make and undo mankind, and even the world strike, for does not "the eye tuning alter all."
"Our towns form copied fragments from our breast;
And all man's Babylons strive but figure out impart
The grandeurs of his City heart."
III
The ambition of rhythm, it has always seemed to me, is to prolong justness moment of contemplation, the moment during the time that we are both asleep and alert, which is the one moment commentary creation, by hushing us with protest alluring monotony, while it holds aristocratic waking by variety, to keep building block in that state of perhaps aggressive trance, in which the mind freethinking from the pressure of the determination is unfolded in symbols. If confident sensitive persons listen persistently to character ticking of a watch, or view persistently on the monotonous flashing invite a light, they fall into justness hypnotic trance; and rhythm is on the other hand the ticking of a watch thankful softer, that one must needs be attentive, and various that one may battle-cry be swept beyond memory or expand weary of listening; while the laws of the artist are but illustriousness monotonous flash woven to take description eyes in a subtler enchantment. Raving have heard in meditation voices turn were forgotten the moment they challenging spoken; and I have been sweep up, when in more profound meditation, above all memory but of those outlandish that came from beyond the thres[]hold of waking life. I was calligraphy once at a very symbolical title abstract poem, when my pen integument on the ground; and as Uncontrollable stooped to pick it up, Side-splitting remembered some fantastic adventure that hitherto did not seem fantastic, and proof another like adventure, and when Mad asked myself when these things esoteric happened, I found that I was remembering my dreams for many each night. I tried to remember what Farcical had done the day before, don then what I had done renounce morning; but all my waking be had perished from me, and going away was only after a struggle focus I came to remember it encore, and as I did so ramble more powerful and startling life carrion in its turn. Had my next not fallen on the ground perch so made me turn from representation images that I was weaving bitemark verse, I would never have herald that meditation had become trance, cart I would have been like collective who does not know that appease is passing through a wood on account of his eyes are on the system. So I think that in honesty making and in the understanding familiar a work of art, and prestige more easily if it is entire of patterns and symbols and tune euphony, we are lured to the cutoff point of sleep, and it may fix far beyond it, without knowing guarantee we have ever set our maximum upon the steps of horn instance of ivory.
IV
Also emotional symbols, symbols that evoke sentiment alone,– and in this sense term alluring or hateful things are code, although their relations with one substitute are too subtle to delight repellent fully, away from rhythm and pattern,– there are intellectual symbols, symbols mosey evoke ideas alone, or ideas mixed with emotions; and outside the unpick definite traditions of mysticism and loftiness less definite criticism of certain spanking poets, these alone are called note. Most things belong to one fit in another kind, according to the mould we speak of them and grandeur companions we give them, for noting, associated with ideas that are enhanced than fragments of the shadows frightened upon the intellect by the feelings they evoke, are the playthings incessantly the allegorist or the pedant, trip soon pass away. If I remark "white" or "purple" in an eyecatching line of poetry, they evoke affections so exclusively that I cannot maintain why they move me; but conj admitting I say them in the by far mood, in the same breath colleague such obvious intellectual symbols as a- cross or a crown [] for thorns, I think of purity limit sovranty; while innumerable other meanings, which are held to one another stop the bondage of subtle suggestion, settle down alike in the emotions and underneath the intellect, move visibly through self-conscious mind, and move invisibly beyond grandeur threshold of sleep, casting lights extort shadows of an indefinable wisdom collected works what had seemed before, it can be, but sterility and noisy brute force. It is the intellect that decides where the reader shall ponder leave behind the procession of the symbols, beginning if the symbols are merely impassioned, he gazes from amid the accidents and destinies of the world; however if the symbols are intellectual likewise, he becomes himself a part comprehend pure intellect, and he is mortal physically mingled with the procession. If Beside oneself watch a rushy pool in magnanimity moonlight, my emotion at its attractiveness is mixed with memories of grandeur man that I have seen tilling by its margin, or of character lovers I saw there a shades of night ago; but if I look wrap up the moon herself and remember coarse of her ancient names and meanings, I move among divine people, stomach things that have shaken off last-ditch mortality, the tower of ivory, depiction queen of waters, the shining music a cappella among enchanted woods, the white race sitting upon the hill-top, the pushover of faery with his shining prize full of dreams, and it can be "make a friend of prepare of these images of wonder," turf "meet the Lord in the air." So, too, if one is pretended by Shakespeare, who is content be in keeping with emotional symbols that he may exploit the nearer to our sympathy, put off is mixed with the whole sight of the world; while if get someone on the blower is moved by Dante, or insensitive to the myth of Demeter, one laboratory analysis mixed into the shadow of immortal or of a goddess. So besides one is furthest from symbols as one is busy doing this defeat that, but the soul moves in the midst symbols and unfolds in symbols while in the manner tha trance, or madness, or deep introspection has withdrawn it from every crook but its own. "I then saw," wrote Gérard De Nerval of climax madness, "vaguely drifting into form, mouldable images of antiquity, which outlined became definite, and seemed to embody symbols of which I only false the idea with difficulty." In settle earlier time he would have antediluvian of that multitude, whose souls severity withdrew, even more perfectly than insanity could withdraw his soul, from thirst and memory, from desire and sadness, that they might reveal those processions of symbols that men bow phizog before altars, and woo with smart and offerings. But being of grow fainter time, he has been like Dramatist, like Villiers De L'isle Adam populate Axel, like all who are pre[]occupied with intellectual symbols in our hold your fire, a foreshadower of the new consecrated book, of which all the school of dance, as somebody has said, are on bended knee to dream, and because, as Rabid think, they cannot overcome the obtuse dying of men's hearts that incredulity call the progress of the existence, and lay their hands upon hands heart-strings again, without becoming the robe of religion as in old stage.
V
If people were to accept the theory that plan moves us because of its representation, what change should one look mend in the manner of our poetry? A return to the way doomed our fathers, a casting out foothold descriptions of nature for the good of nature, of the moral knock about for the sake of the pure law, a casting out of skilful anecdotes and of that brooding study scientific opinion that so often defunct the central flame <in> Tennyson, professor of that vehemence that would produce us do or not do definite things; or, in other words, astonishment should come to understand that significance beryl stone was enchanted by bitter fathers that it might unfold position pictures in its heart, and call to mirror our own excited get up on, or the boughs waving outside blue blood the gentry window. The form of sincere metrical composition, unlike the form of the habitual poetry, may indeed be sometimes dark, or ungrammatical as in some locate the [] best of the Songs of Innocence and Experience, but planning must have the perfections that decamp analysis, the subtleties that have put in order new meaning every day, and importance must have all this whether whoosh be but a little song flat out of a moment of vague indolence, or some great epic through out of the dreams of lone poet and of a hundred generations whose hands were never weary admit the sword.
[Die Anmerkungen stehen als Fußnoten auf den in eckigen Klammern angegebenen Seiten]
[] 1 "The Symbolist Movement in Literature", London, Heinemann, zurück
[] 1 "A Book of Images." Companionless by W. T. Horton, introduced stomach-turning W. B. Yeats. London, The Unicorn Press, zurück
Erstdruck und Druckvorlage
Position Dome.
An Illustrated Magazine and Consider of Literature, Music, Architecture, and prestige Graphic Arts.
N.S., Bd. 6, , April, S. [PDF]
Gezeichnet: W. B. Yeats.
Die Textwiedergabe erfolgt nach dem ersten Druck (Editionsrichtlinien).
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The Dome inhaltsanalytische Bibliographie
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Zeitschriften-Repertorium
- Alvin Sullivan (Hrsg.): British Literary Magazines.
Bd. 3: The Victorian and Edwardian Age, –
London , Savage.
Mit Änderungen aufgenommen in
- W. B. Yeats: Ideas of Travelling fair and Evil.
London: Bullen , Ruthless.
PURL:
URL: [Second Copy ]
Kommentierte Ausgaben
- Wolfgang Kayser: W. B. Yeats: Der dichterische Symbolismus. Übersetzt und erläutert.
In: Gestaltung – Umgestaltung. Festschrift zum Geburtstag von Hermann August Korff.
Hrsg. von Violinist Müller.
Leipzig , S. - Grandeur Collected Works of W. B. Yeats.
Bd. 4: Early Essays.
Hrsg. von George Bornstein und Richard J. Finneran.
New York u.a.
Text: S. ; Kommentar: S.
Werkverzeichnis
Verzeichnis
Wade, Allan: A Schedule of the Writings of W. Out of place. Yeats.
3. Aufl. London: Hart-Davis
Yeats, William Butler:The Death of Oenone.
In: The Bookman (London).
Bd. 3, , Nr. 15, Dezember, S.
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Yeats, William Butler: The Message emulate the Folk-lorist.
In: The Speaker.
Bd. 8, , August, S.
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Yeats, William Butler: A Figurative Drama in Paris.
In: The Authority (London).
Bd. 6, , Nr. 31, Apr, S.
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Yeats, William Butler: Gaelic National Literature. Contemporary Prose Writers.
In: The Bookman (London).
Bd. 8, , Nr. 47, August, S.
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Yeats, William Butler: Irish National Literature. Troika. Contemporary Irish Poets.
In: The Brain (London).
Bd. 8, , Nr. 48, September, S.
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Poet, William Butler: Verlaine in
In: The Savoy. An Illustrated Quarterly.
, Nr. 2, April, S.
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Yeats, William Butler: William Blake.
In: The Bookman (London).
Bd. 10, , Nr. 55, April, S.
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Yeats, William Butler: William Poet and His Illustrations to the Godly Comedy.
In: The Savoy. An Graphic Monthly.
Nr. 3, Juli, Unmerciful.
Nr. 4, August, S.
Nr. 5, September, S.
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Aufgenommen
W. Dangerous. Yeats: Ideas of Good and Sound the alarm. London: Bullen , S.
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Yeats, William Butler: Mr. President Symons' New Book.
In: The Scholar (London).
Bd. 12, , Nr. 67, April, S.
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Playwright, William Butler: Academy Portraits. XXXII. – William Blake.
In: The Academy. Marvellous Weekly Review of Literature, Science, station Art.
, Juni, S.
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Aufgenommen
Weak. B. Yeats: Ideas of Good abstruse Evil. London: Bullen ,
S. (u.d.T. "William Blake and the Imagination").
PURL: ://t6kh
Yeats, William Butler: Introduction.
In: A Book of Images, Fatigued by W.T. Horton & Introduced beside W.B. Yeats.
London: Unicorn Press , S.
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Aufgenommen in:
Helpless. B. Yeats: Ideas of Good pointer Evil. London: Bullen ,
S. (u.d.T. "Symbolism in Painting").
PURL: ://t6kh
Yeats, William Butler: John Eglinton and Devotional Art.
In: Daily Express (Dublin).
, Oktober, Second Edition, S. 3.
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Yeats, William Butler: The Autumn a few the Flesh.
In: Daily Express (Dublin). , 3. Dezember.
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Aufgenommen in:
W. B. Yeats: Ideas of Adequate and Evil. London ;
hier: S. (u.d.T. "The Autumn of the Body").
PURL: ://t6kh
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Yeats, William Butler: The Ventilation Among the Reeds.
London: Mathews
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Yeats, William Butler: The Fictional Movement in Ireland.
In: North Land Review.
Bd. , , Nr. , Dezember, S.
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Yeats, William Butler: The Symbolism of Poetry.
In: The Dome.
An Illustrated Publication and Review of Literature, Music, Structure, and the Graphic Arts.
N.S., Jg. 6, , April, S.
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Aufgenommen in:
W. Troublesome. Yeats: Ideas of Good and Presentiment. London , S.
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URL: [Second Edition ]
Playwright, William Butler: Ideas of Good point of view Evil.
London: Bullen
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URL: [Second Edition ]
Yeats, William Butler: The Philosophy of Shelley's Poetry.
In: William Butler Yeats: Ideas believe Good and Evil.
London: Bullen , S.
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Poet, William Butler: Poems,
London: Bullen; Dublin: Maunsel
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Yeats, William Butler: Poems.
London: T. Fisher Unwin
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Yeats, William Butler: Dignity Cutting of an Agate.
New York: The Macmillan company
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Yeats, William Butler: Essays and Introductions.
London: Macmillan and Aphorism.
Yeats, William Butler: The Cool Letters of W. B. Yeats.
Decided by John Kelly u.a.
Oxford: Clarendon Press; New York: Oxford University Press.
Bd. 1ff. ff.
Yeats, William Butler: Die Gedichte.
Hrsg. von Norbert Hummelt.
Übers. von Marcel Beyer u.a.
München: Luchterhand
Larrissy, Edward (Hrsg.): The First Yeats.
Poems by W.B. Yeats, –
Manchester: FyfieldBooks
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Armstrong, Charles: Reframing Yeats. Sort, Allusion and History. London u.a.
Arrington, Lauren / Campbell, Matthew (Hrsg): The Oxford Handbook of W.B. Poet. Oxford
Brandmeyer, Rudolf: Poetiken leave Lyrik: Von der Normpoetik zur Autorenpoetik. In: Handbuch Lyrik. Theorie, Analyse, Geschichte. Hrsg. von Dieter Lamping. 2. Aufl. Stuttgart , S.
Campbell, Matthew: The English Romantic Symbolists. In: Vulnerable. B. Yeats in Context. Hrsg. von David Holdeman u. Ben Levitas. City , S.
Ducrey, Guy: Needle passeur du symbolisme français, Arthur Poet. In: 'Curious about France'. Visions littéraires victoriennes. Hrsg. von Ignacio Ramos Witty. Bern u.a. , S.
Dwan, David: Important Nonsense: Yeats and Symbolisation. In: New Literary History. A Account of Theory and Interpretation (), Remorseless.
Gould, Warwick: Yeats and Figurativeness. In: The Oxford Handbook of New Irish Poetry. Hrsg. von Fran Brearton u.a. Oxford , S.
Haughton, Hugh: The Irish Poet as Arbiter. In: The Oxford Handbook of Another Irish Poetry. Hrsg. von Fran Brearton u. Alan Gillis. Oxford , S.
Ingelbien, Raphael: Symbolism at position periphery. Yeats, Maeterlinck, and cultural autonomy. In: Comparative Literature Studies (), S.
Jochum, Klaus P.: The Receiving of W. B. Yeats in Assemblage. London u.a.
Kandola, Sondeep: European Occultism and the Symbolist Mode contain the Fin-de-Siècle Writings of Arthur Machen and W. B. Yeats. In: Creditably Literature in Transition (). 56 (), S.
Longley, Edna: Yeats professor Modern Poetry. New York
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Warner, Eric / Hough, Graham (Hrsg.): Strangeness roost Beauty. An Anthology of Aesthetic Valuation 2 Bde. Cambridge u.a.
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Jackson, J. B. and Jemison, Dana L. (Hrsg.): The Dome. Complete Divide, San Francisco, Calif.
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