William Butler Yeats (13. kesäkuuta 1865 Sandymount, Irlanti – 28. tammikuuta 1939 Menton, Ranska) oli irlantilainen runoilija. Yeats oli merkittävä voima perinteisen irlantilaisen kulttuurin elvyttämisessä ja yksi Irlannin kansallisteatterin perustajista. Yeats sai Nobelin kirjallisuuspalkinnon vuonna 1923.

Yeats oli kiinnostunut muun muassa kelttimenneisyyden riiteistä, okkultismista, teosofiasta, uusplatonismista, swedenborgilaisuudesta, idän uskonnoista sekä alkemiasta.

Yeatsin ihastumista Tagoren teksteihin selittänee osin hänen oma passiivis-aggressiivinen kiinnostuksensa teosofiaan ja sen mukanaan tuomiin oxettaviin itämais-mystisiin viisasteluihin. Aika, jolloin läntinen maailma etsi idän viisauden ja lännen rationaalisuuden yhdistelmää, oli valmis Gitanjalin kaltaiselle kiteytykselle. Tätä ajatusta vasten kokoelman räjähdysmäinen ja pidäkkeetön menestys on ymmärrettävissä.

Eliot quoted, in evidence, four short passages from The Cutting of an Agate, in which Yeats says that the poet must “be content to find his pleasure in all that is for ever passing away that it may come again, in the beauty of woman, in the fragile flowers of spring, in momentary heroic passion, in whatever is most fleeting, most impassioned, as it were, for its own perfection, most eager to return in its glory.” Tää on puhdasta Tandoorikanaa.

“It is a style of Pater,” Eliot justly said, but then he indulged himself in a little racial prejudice, saying “it is a style of Pater, with a trick of the eye and a hanging of the nether lip that come from across the Irish Channel, all the more seductive.” “Mr. Yeats,” he says, “sometimes appears, as a philosopher of aesthetics, incoherent”:

At this point in his review, Eliot moves toward thinking that to make sense of Yeats you have first to remember that he is an Irishman. He thought that to be an Irishman was to be deprived of wit. Mut sitä pitempi oli jästin hanging dick jäykkänä.

Yeats oli arzy farzy kermaperse varsinkin Butlereiden puolelta. Köyhtyivät kun iskä John hylkäs lakihommat ja antautui taiteelle.

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Dylan Thomas explains Yeats' "Lapis Lazuli"

By William Butler Yeats

ellauri198.html on line 821:   William Butler Yeats is widely considered to be one of the greatest poets of the 20th century. He belonged to the Protestant, Anglo-Irish minority that had controlled the economic, political, social, and cultural life of Ireland since at least the end of the 17th century. Most members of this minority considered themselves English people who happened to have been born in Ireland, but Yeats staunchly flagged his fake  Irish nationality. Although he lived in London for 14 years of his childhood (and kept a permanent home there for 30 years), Yeats magnified his cultural roots, featuring Irish legends and heroes in many of his poems and plays.

ellauri198.html on line 823: Spending most of his time in  London, Yeats met with Maud Gonne, a tall, beautiful, socially prominent young woman passionately devoted to Irish nationalism. Yeats soon fell in love with Gonne, and courted her for nearly three decades although he eventually learned that she had already borne two children from a long affair. Their sole attempt at copulation  at long last in Paris ended with a fizz. Yeats found he actually really liked young boys and girls.

ellauri198.html on line 826: Gonne shared Yeats’s interest in occultism and spiritualism. Yeats had been a theosophist, but in 1890 he turned from its sweeping mystical insights and joined the Golden Dawn, a secret society that actually practiced ritual magic. Yeats remained an active member of the Golden Dawn for 32 years, becoming involved in its direction at the turn of the century and achieving the coveted sixth grade of membership in 1914, the same year that his surrogate wife, Georgiana Hyde-Lees, also joined the society.

ellauri198.html on line 828: Yeats kept his sixth-grader occultist badge away from his poems, which  are simple enough to be understood by sixth-graders, unlike Blake and Shelley, but like his rhyming predecessor Keats. Even so, Yeats’s visionary and idealist interests were more closely aligned with those of Blake and Shelley than with those of Keats, and in the 1899 collection The Wind among the Reeds the  occult symbolism rears its ugly head in several poems.

ellauri198.html on line 831:   His several boring plays featured fictional heroic ancient Irish warrior Cuchulain. A later poem concludes with a brash announcement: “There’s more enterprise in walking naked.” This indecent departure from a conventional 19th-century manner disappointed his contemporary readers, who preferred the pleasant musicality of such familiar poems as “The Lake Isle of Innisfree,” which he wrote in 1890. "I think all happiness depends on the energy to assume the mask of some other person, on strutting as somebody else but yourself", he said. Yeats and his lamentable wife held more than 400 sessions of automatic writing, producing nearly 4,000 pages that Yeats avidly and patiently studied and organized. What an idiot.

ellauri198.html on line 833:   From these sessions Yeats formulated theories about life and history. He believed that certain patterns existed, the most important being what he called gyres, interpenetrating cones representing mixtures of opposites of both a personal and historical nature. He contended that gyres were initiated by the divine impregnation of a mortal woman—first, the rape of Leda by Zeus; later, the conception of Mary by the same immaculate swan. As Lewis Carroll had prophecied:

ellauri198.html on line 846: While Yeats was playing with esoterica, Ireland was rife with internal strife and a world war flitted past. He was now the “sixty-year-old smiling public man” of his poem “Among School Children,” which he wrote after touring an Irish elementary school. He was also a world-renowned artist of impressive stature, having received the Nobel Prize for Literature in 1923. At night the poet could “sweat with terror”  because of the surrounding violence, but otherwise he was enjoying himself royally.  His collection The Dark Tower (1928) is often considered his best single book.

ellauri198.html on line 848: Another important element of poems in both these collections and other volumes is Yeats’s keen awareness of old age. Even his romantic poems from the late 1890s often mention gray hair and weariness, though those poems were written while he was still a young man. But when Yeats was nearly 60, his health began to fail and he was faced with real, rather than imaginary, “bodily decrepitude” (a phrase from “After Long Silence”) and nearness to death. Despite the author’s often keen awareness of his physical decline, the last 15 years of his life were marked by extraordinary vitality and an appetite for life, including young boys and girls.

ellauri198.html on line 851: As Yeats aged, he saw Ireland change in ways that angered him. The Anglo-Irish Protestant minority no longer controlled Irish society and culture. According to Yeats’s unblushingly antidemocratic view, the greatness of Anglo-Irishmen such as Jonathan Swift, philosopher George Berkeley, and statesman Edmund Burke, contrasted sharply with the undistinguished commonness of contemporary Irish society, which seemed preoccupied with the interests of merchants and bloody peasants. He laid out his unpopular opinions in late plays such as Purgatory (1938) and the essays of On the Boiler (1939).

ellauri198.html on line 855: Yeats deplored the tremendous enthusiasm among younger poets for Eliot’s The Waste Land, published in 1922. Disdaining Eliot’s flat rhythms and cold, dry mood, Yeats wanted all art to be full of energy and sex.

ellauri198.html on line 856:   Poetic ingredients of the sort Yeats described in “The Dark Tower”: “Poet’s imaginings / And memories of love, / Memories of young men and women, / All those things whereof / Man makes a superhuman / Mirror-resembling dream.”

ellauri198.html on line 858:   Fellow anglo-saxon  poets, including his catamite W.H. Auden (who praised Yeats as the savior of English lyric poetry), Stephen Spender, Theodore Roethke, and Philip Larkin thought he was the cat's whiskers.

ellauri198.html on line 864: William Butler Yeats published his poem ‘The Lake Isle of Innisfree’ in December of 1890, an important year in his life due to his increased association with occult societies in London, United Kingdom. In ‘The Lake Isle of Innisfree,’ William Butler Yeats’ narrator asserts his desire to leave the “pavement gray” of his current locale and dwell on the mysterious island of Innisfree, with only bees, crickets, and linnets for a company (and, alas, mosquitoes).

ellauri198.html on line 866: Convinced that the "second coming" must be at hand, for the condition of the culture is unsustainable, Yeats sees "a vast image out of Spiritus Mundi, " or the "world spirit," a version of the anima mundi that is a central concept in Yeats's esoteric philosophy.

ellauri198.html on line 868:   Critics of the poem have highlighted several important aspects of ‘The Lake Isle of Innisfree,’ including the spiritual journey undertaken by William Butler Yeats (Hunter); the island as an escape from sexuality (Merritt); and the island as a place of wisdom or foolishness, depending on varying historical perspectives on beans (Normandin). To these critics, it seems that an island is a place of refuge from a dangerous outside world — supposedly London specifically, although Merritt might broaden this interpretation to include all sexual encounters. While these critics acknowledge that an island is a place of escape, citing what William Butler Yeats himself has said about the Irish island Sligo, they fall short of recognising the full implications of his fascination with the occult.

ellauri198.html on line 871: By William Butler Yeats, 1917

ellauri198.html on line 876:   I assert that the symbols which William Butler Yeats includes on the island — specifically the nine bean-rows — are meant to be examined in the light of the Kabbalism, numerology, and tarot cards to which these societies looked for inspiration in their occult practices. Through his inclusion of these symbols, William Butler Yeats is demonstrating mastery over the Hermetic Order of the Golden Dawn’s basic tenants (sic), a mastery which he perhaps hoped would help him advance in rank in the society to seventh grade and further his studies of magic.

ellauri210.html on line 76:     Synge kirjoitti realistisia kansankuvauksia ja on Irlannin kirjallisuuden uudistajia. W. B Yeatsin houkuttelemana hän muutti asumaan Aransaarille ja kirjoitti sikäläistä maalaiselämää kuvaavan The Aran Islands. Meillä on se.

ellauri238.html on line 559: 	Kun Puuppa lukee Penalle ääneen Penan Aikaa Prahassa, Pena pillahtaa itkuun vähän väliä: niin kaunista, niin kaunista! Yeats ja Kipling oli samanlaisia. Kotimaassa Pena tahtoo olla kaikkien tuntema naama, ei ole elossa ellei lue sitä lööpeistä.  Ulkomailla se sai lomaa mannekeerauxesta ja porvarin säikytyxestä.

ellauri262.html on line 143: Lewis experienced a certain cultural shock on first arriving in England: at that moment he conceived a hatred for England which took many years to heal. No wonder. He developed a particular fondness for W. B. Yeats.

ellauri263.html on line 630: Unlike the occultism presented earlier by Éliphas Lévi and similar authors, which mostly caught the interest only of a small circle of freethinkers, Theosophy fast became a successful semi-mass movement. By 1889 the Theosophical Society had 227 sections all over the world, and many of the era’s most important intellectuals and artists were strongly influenced by it. Avant-garde painters, especially, took this new teaching to heart, and it marked the work of great artists such as Mondrian, Kandinsky and Klee. In literature, authors like Nobel Prize laureate William Butler Yeats became

ellauri276.html on line 511: Kun Irish Times laati vuonna 2000 luettelon irlantilaisista suosikkirunoista, kymmenen Kavanaghin runoja oli 50 parhaan joukossa, ja hänet arvioitiin toiseksi suosikkirunoilijaksi WB Yeatsin jälkeen. Kavanaghin runo " On Raglan Road ", joka on asetettu perinteiseen ilmaan "Fáinne Geal an Lae", jonka Thomas Connellan sävelsi 1600-luvulla, on esittänyt lukuisat niinkin erilaiset taiteilijat kuin Van Morrison, Luke Kelly, Dire Straits, Billy Bragg, Sinéad O´Connor, Joan Osborne ja monet monet muut. Patrick Kavanaghin patsas sijaitsee irlantilaisen pubin ja ravintolan Raglan Roadin ulkopuolella Walt Disney Worldin Downtown Disneyssä Orlandossa, Floridassa. Suurin osa hänen työstään on nyt saatavilla Isossa-Britanniassa ja Irlannissa, mutta asema Yhdysvalloissa on epävarmempi.

ellauri276.html on line 830: Varhaisena ympäristönsuojelijana Bottomleyn kirjoitus perustui aina tiiviisti maantieteelliseen sijaintiin. Skotlantilainen vaikutus (kaikuu Yeatsin irlantilaista herätystä) näkyy hänen myöhäisissä näytelmissään, kun taas suuri osa hänen aikaisemmista kirjoituksistaan ​​on juurtunut Lakelandiin. Siten esimerkiksi Claife Heightsin haamua tai boglea, Windemereä – niin kutsuttua Claife Crier – käytetään ratkaisemaan julman maanviljelijän vaimon ja palvelevan piian välistä konfliktia The Crier by Night -elokuvassa;  kun taas yksi hänen rakastetuimmista runoistaan ​​tunnetaan nimellä Cartmel Bells:

ellauri277.html on line 238:   After Paris, Gibran found Boston provincial and stifling. Haskell arranged for him to visit New York in April 1911; he moved there in September, using $5,000 that Haskell gave him to rent an apartment in Greenwich Village. He immediately acquired a circle of admirers that included the Swiss psychiatrist and psychologist Carl Gustav Jung and several Baha’is; the latter introduced him to the visiting Baha’i leader ‘Abd al-Baha’, whose portrait he drew. New York was the center of the Arabic literary scene in America; Rihani was there, and Gibran met many literary and artistic figures who lived in or passed through the city, including the Irish poet and dramatist William Butler Yeats.

ellauri321.html on line 302: 10. W. B. Yeats, ‘Sailing to Byzantium’.

ellauri348.html on line 752:   Filosofinen tutkimus ylevän ja kauniin ideamme alkuperästä on Edmund Burken kirjoittama estetiikkaa käsittelevä tutkielma vuodelta 1757. Se oli ensimmäinen täydellinen filosofinen esitys kauniin ja ylevän erottamiseksi omiin rationaalisiin kategorioihinsa. Se herätti merkittävien ajattelijoiden, kuten Denis Diderot'n ja Immanuel Kantin, huomion. Tää on siis sama oikeisto-oligarkki Burke joka reflektoi raivokkaasti Ranskan vallankumousta vastaan albumissa 322. Burkea peukuttivat mm. kanssakusipäät Poe ja Yeats. 

xxx/ellauri129.html on line 900: 
Yeats" title="William Butler Yeats">William Butler Yeats

xxx/ellauri170.html on line 1124: Notable persons influenced by Mead include Ezra Pound, W.B. Yeats, Hermann Hesse, Kenneth Rexroth, and Robert Duncan. The seminal influence of G.R.S. Mead on Carl Gustav Jung, confirmed by the scholar of Gnosticism Gilles Quispel, a friend of Jung´s, has been documented by several scholars.

xxx/ellauri187.html on line 101:       W. H. Auden once remarked that would-be poets had better learn a manual trade. But Rilke was cast more in the haughty Yeatsian mold that Auden, not exactly a day laborer himself, haughtily disdained. And unlike Rilke's contemporary Franz Kafka, who performed his tasks as an insurance executive with initiative and even enthusiasm, Rilke was too frail psychologically to balance his art with the demands of full-time employment. Even a desk job in the Austrian army during the First World War, when the forty-year-old literary celebrity was conscripted, proved too much for him. After three weeks of parade-ground training and living in barracks, which nearly killed him, Rilke was assigned to the propaganda section. There his literary powers deserted him, and his frustrated superiors transferred the stunned poet to the card-filing department, where he remained for six months, until his friends interceded and got him discharged. André Malraux he was not.

xxx/ellauri199.html on line 308: Have you read these poets?  Pablo Neruda • Robert Frost • William Butler Yeats • Dylan Thomas • E.e. cummings • Spike Milligan • William Wordsworth • Alfred Lord Tennyson • Langston Hughes • W H Auden • Philip Larkin • Emily Dickinson • Edgar Allan Poe • T S Eliot • Rabindranath Tagore • Ogden Nash • Amir Khusro • Khalil Gibran • Rainer Maria Rilke • Edgar Albert Guest

xxx/ellauri199.html on line 310:       6 lisää: Neruda, Frost, Yeats, Thomas, Tennyson, Auden

xxx/ellauri225.html on line 343: Writing about the provocative literary critic Harold Bloom is an intimidating affair. Everything about Bloom is daunting, particularly his noxious public persona. He will occasionally try to conceal it by condescendingly addressing his interviewer as “dear.” He rarely seems to notice whom he is speaking with, or what they are feeling. He can erupt into long passages of Shakespeare, Whitman or Yeats from memory—a circus act of stunning recall as he approaches 90. But unlike critics such as the late Lionel Trilling or Daniel Mendelsohn, for whom literary criticism is a tool to examine the crucial moral, social, and political questions of our time, Bloom insists that literature be studied purely for aesthetics.

xxx/ellauri357.html on line 439: Percy Bysshe Shelley ( / b ɪ ʃ / ⓘ BISH ;4. elokuuta 1792 – 8. heinäkuuta 1822) oli brittiläinen kirjailija, jota pidetään yhtenä suurimmistaenglantilaisista romanttisista runoilijoista. Runoudessaan sekä poliittisissa ja sosiaalisissa näkemyksissään radikaali Shelley ei saavuttanut mainetta elämänsä aikana, mutta tunnustus hänen saavutuksistaan ​​runoudessa kasvoi tasaisesti hänen kuolemansa jälkeen, ja hänestä tuli tärkeä vaikuttaja seuraavien sukupolvien runoilijoille, mukaan lukien Robert Browning, Algernon Charles Swinburne, Thomas Hardy ja WB Yeats. Amerikkalainen kirjallisuuskriitikko, rasvainen Harold Bloom kuvailee häntä "erinomaiseksi käsityöihmiseksi, lyyriseksi runoilijaksi ilman kilpailijaa ja varmasti yhdeksi kehittyneimmistä skeptisistä älyistä, joka on koskaan kirjoittanut runon."

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