By Rosenthal, Macha Louis; Yeats, William Butler
In Running to Paradise, M.L. Rosenthal, hailed by way of the Times Literary Supplement as "one of an important critics of twentieth-century poetry," leads us during the lyric poetry and poetic drama of our century's maximum poet in English. His readings shed new, bright mild on Yeats's bold makes use of of culture, his love poetry, and how he confronted the customarily tragic realities of revolution and civil battle. Running to Paradise describes Yeat's complete effort--sometimes leavened through wild humor--to express, with excessive poetic integrity, his passionate feel of his personal existence and of his chaotic era.
Himself a famous poet, Rosenthal stresses Yeats's artistry and mental candor. The ebook levels from his early beautiful lyrical poems and folklore-rooted performs, throughout the tougher-minded, extra confessional mature paintings (including the chic success of The Tower), after which to the occasionally "mad" but frequently tremendous tragic or comedian writing of his final years. Quoting commonly from Yeats, Rosenthal charts the collection strength with which the poet faced his significant life-issues: his art's calls for, his power yet hopeless love for one girl, the complexities of marriage to a different girl at age fifty two, and his misery in the course of Ireland's "Troubles." Yeats's deep absorption in woman sensibility, within the cycles of heritage and human proposal, and in supernaturalism and "the lifeless" comes strongly into play in addition
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Additional info for Running to paradise : Yeats's poetic art, Edition: First Edition
Even before the play's explicit subject is revealed, this song starts things off with a double detachment from traditional Christian 46 Running to Paradise emphasis. The tone of the refrain ("God has not died for the white heron") insinuates itself at once, an overture to Christ's unhappy agons with Lazarus, Judas, and the Roman soldiers. The refrain aside, however, the song is totally independent of the religious context of the main plot. Paralyzed by his own "glittering image" in the water under the full moon, liberated only by the fading of his reflection as the moon changes, the heron is totally self-absorbed and is subject only to impersonal natural process.
So it is true what I have heard men say, That you have seen and heard what others cannot. Aleel. I was asleep in my bed, and while I slept My dream became a fire; and in the fire One walked and he had birds about his head. Cathleen. I have heard that one of the old gods walked so. Aleel. It may be that he is angelical; And, lady, he bids me call you from these woods . . 40 Running to Paradise The passage is a relatively early instance of Yeats's delight in turning pious thought inside out. The god with "birds about his head" who appeared to Aleel is Aengus, described by Yeats elsewhere as the ancient Celtic "master of love" and god of youth, beauty, and poetry.
But elsewhere it corrects that poem's implication that the beloved's beauty was greater in the past than now. On the contrary, the whole quality of her "tall and noble" beauty—a matter of character and spirit rather than of physical loveliness alone—has been deepened by time. The great line "The fire that stirs about her, when she stirs" is reserved for her maturer presence. In tracing the movement of In the Seven Woods from one poem to the next, we have followed the unfolding of a lyrical sequence: that is, a whole group of poems having an organic reciprocity similar to that of the parts of a single lyric poem.