Abstract
“Middle Yeats” — the segment of Yeats’s career defined by the turn of the century and his immersion in the theater movement at one end, and at the other by his marriage in 1917 and the resultant spirit communications that led to A Vision — was a period during which he sought consciously to bring back together elements in his life and work that had been moving in opposite directions. This essay offers a brief description of the problem, then a closer look at one manifestation of Yeats’s confrontation with it, his interest in the figure of Incarnation.
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Notes
Richard Ellmann (ed.), The Artist as Critic: Critical Writings of Oscar Wilde ( New York: Vintage, 1970 ) pp. 307–8.
Samuel Levenson, Maud Gonne ( New York: Reader’s Digest Press, 1976 ) pp. 280–1.
Yeats had used the Edain legend that way long before, in the early story “Dhoya” (1891); see Phillip L. Marcus, “Possible Sources of Yeats’s ‘Dhoya’,” N&Q vol. 14, no. 10 (October 1967) 383–4.
See Richard Ellmann, Yeats: The Man and the Masks ( New York: Macmillan, 1948 ) p. 230.
For the draft, see Jon Stallworthy, Vision and Revision in Yeats’s “Last Poems” (Oxford: Clarendon Press, 1969 ) p. 125.
Two essential discussions of this complex poem are those of Thomas Whitaker, Swan and Shadow ( Chapel Hill: University of North Carolina Press, 1964 ) pp. 235–45;
and Edward Engelberg, The Vast Design ( Toronto: University of Toronto Press, 1964 ) pp. 180–204.
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© 1982 Richard J. Finneran
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Marcus, P.L. (1982). Incarnation in “Middle Yeats”. In: Finneran, R.J. (eds) Yeats Annual No. 1. Macmillan Literary Annuals S.. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-05324-7_3
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DOI: https://doi.org/10.1007/978-1-349-05324-7_3
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