ellauri053.html on line 1172: Yeats’s mind, Eliot said further in the review is, in fact, extreme in egoism, and, as often with egoism, remains a little crude. Liian vähän pylly vasten pyllyä kontakteja etenkin jenkkeihin, on Tompan selitys. Sama vika koprofiili Joycella, joka on sentään massiivinen, Jästi ei. Very powerful feeling is crude; the fault of Mr. Yeats’s is that it is crude without being powerful.
ellauri053.html on line 1179: His complaint against Yeats was that Yeats’s “supernatural world” was “the wrong supernatural world”: It was not a world of spiritual significance, not a world of real Good and Evil, of holiness or sin, but a highly sophisticated lower mythology summoned, like a physician, to supply the fading pulse of poetry with some transient stimulant so that the dying patient may utter his last words.

ellauri053.html on line 1197: It is worth noting that Eliot apparently paid no attention to Yeats’s later politics: he does not refer to Yeats’s engagement with the Fascism of Mussolini and Gentile.
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 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).
xxx/ellauri489.html on line 173: No. W.B. Yeats did not "root for Hitler" in "The Second Coming." The poem (written 1919, published 1920) expresses Yeats’s sense of cultural and political chaos after World War I and his belief that history was entering a violent, transformative phase; it is apocalyptic and ambiguous, not an endorsement of any specific modern leader. Yeats feared social collapse and spiritual decline and used mythic imagery (the gyre, a sphinx-like beast) to describe a breakdown of order and the rise of a brutal, unknown force. Critics interpret the poem as a warning about violent upheaval and the loss of moral centers, not as praise for fascism or Hitler. (Though the rebellious Irish did hope for help from Germans against the Brits.)
xxx/ellauri489.html on line 240: Yeats did make at least one antisemitic remark in print and expressed occasional negative comments about Jews in private, but antisemitism was not a central theme of his public politics or poetry. Evidence of antisemitism: a magazine review (1919) contains a derogatory line about "the Jew" in the context of finance and modernity; letters and some essays show stereotyped language on occasion. Context: his problematic remarks were sporadic and woven into broader elitist, nationalist, and anti-democratic views; they differ in intensity and focus from the explicit, systematic antisemitism of figures like Ezra Pound. Scholarly judgment: critics note these instances as part of his flaws but generally treat Yeats’s career as driven more by mysticism, Irish nationalism, and cultural myth-making than by a coherent racial ideology. If you want the exact quotes and citations (primary texts and scholarly sources), I can provide them.
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