New Releases by William Butler Yeats

Compilation of all the poems from The Wild Swans at Coole (1919) and Michael Robartes and the Dancer (1921) includes "The Second Coming," "An Irish Airman Foresees His Death," many others.

Yeats''s short fiction, rich in metaphor and symbolism, is preoccupied, like his poetry, with ''the war of spiritual with natural order''. Themes and figures recur, notably Hanrahan the Red, the last of Ireland''s Celtic singers, and several of Yeats''s restless heroes are seekers after forbidden knowledge, alchemists, lovers or mystics. This volume contains Yeats''s best short fiction. It includes his short novel, John Sherman, all the stories in The Secret Rose, and the ''companion'' stories ''The Tables of the Law'' and ''The Adoration of the Magi''.

This new selection includes the final book from the unfairly neglected narrative poem "The Wanderings of Oisin" and a number of lyrics from Yeat''s work as poetic dramatist, together with other short pieces which have not achieved canonical status. It breaks new ground by allowing the reader to engage with a dozen poems in alternative versions; in many other cases it provides significant variants, so that Yeat''s struggle to revise his poetry and to "remake" himself can be experienced with unusual immediacy.

Prefaces and Introductions, Volume VI of The Collected Works of W.B. Yeats, brings together for the first time thirty-two introductions by Yeats to the works of such literary greats as William Blake, J.M. Synge, Lady Gregory, Oscar Wilde, Oliver St. John Gogarty, Lionel Johnson, and Rabindranath Tagore. The introductions, which span the Nobel laureate''s entire career, reflect the broad reach of Yeats''s literary and cultural interests. Writing of fairies, ghosts, and witches in his introduction to Fairy and Folk Tales of the Irish Peasantry, Yeats discovers that they were still extant in Ireland, at least in 1888, "giving gifts to the kindly, and plaguing the surly." In his preface to Stories from Carleton he tells of that sweetest ginger of Gaelic tunes, Mary Carleton, who was once asked to sing the air "The Red-haired Man''s Wife" and replied: "I will sing for you, but the English words and the air are like a quarreling man and wife. The Irish melts into the tune: the English does not." And in distinguishing the Irish from the English poets of his day in A Treasury of Irish Poetry in the English Tongue, Yeats remarks: "Contemporary Irish poets believe in spiritual life, invisible and troubling, and express their belief in their poetry. Contemporary English poets are interested in the glory, the order, the passion or the pleasure of the world." Always insightful and often charming, Prefaces and Introductions reveals the breadth of Yeats''s talent as essayist, critic, folklorist, and raconteur.

From reviews of The Cornell Yeats series: "For students of Yeats the whole series is bound to become an essential reference source and a stimulus to important critical re-readings of Yeats''s major works. In a wider context, the series will also provide an extraordinary and perhaps unique insight into the creative process of a great artists."-Irish Literary Supplement "I consider the Cornell Yeats one of the most important scholarly projects of our time."-A. Walton Litz, Princeton University, coeditor of The Collected Poems of William Carols Williams and Personae: The Shorter Poems of Ezra Pound "The most ambitious of the many important projects in current studies of Yeats and perhaps of modern poetry generally. . . . The list of both general and series editors, as well as prospective preparers of individual volumes, reads like a Who''s Who of Yeats textual studies in North America. Further, the project carries the blessing of Yeats''s heirs and bespeaks an ongoing commitment from a major university press. . . . The series will inevitably engender critical studies based on a more solid footing than those of any other modern poet. . . . Its volumes will be consulted long after gyres of currently fashionable theory have run on."-Yeats Annual (1983) This is the second of two volumes containing transcriptions and in many cases facsimiles of all surviving manuscripts of the poetry that Yeats had published by 1895, together with the later revisions of that poetry.

A collection of forty-one early love poems by William Butler Yeates.

Supernatural tales are based upon Irish folklore, incidents related to Yeats by witnesses, and Yeats'' own experiences.

Covers last four years of Yeats'' life.

First published in 1928, The Tower was Yeats’s first collection published after receiving the Nobel Prize in 1923, and it is perhaps the major work that most cemented his reputation as one of the foremost literary figures of the twentieth century. The titular poem, ‘The Tower’, refers to Thoor Ballylee Castle, a Norman tower that Yeats purchased in 1917, and which formed the basis of the original cover design – evoked in the cover of this edition. The collection also includes some of his most inventive and profound work, and develops deep themes regarding life, love and myth. With explanatory notes, this edition seeks to bring the collection to a greater readership and to offer a more profound understanding of the great poet’s work.

The reason for Yeats''s fascination with dance became obvious to me when I understood his concept of theatre which was very different from the theatre of his day. He shunned naturalistic theatre - plays based on contemporary ideas and events prevalent in the work of George Bernard Shaw and Oscar Wilde. Yeats wanted his drama to by-pass the intellect, to excite the imagination rather than the mind. He believed that the world of events and ideas was transitory, passing, whereas the reality of the imagination was lasting. He wanted his theatre to communicate experiences which were outside the scope of reason, experiences which evoked the "intimacies, ecstasies and anguish of the soul-life." He wanted his theatre to create magic, to be a mystical happening which lured the audience to "the edge of trance." He wanted to create poems without words. Dance was the perfect solution. Through dance he could convey those "intuitive perceptions" that could be comprehended only through the pulses, "in that moment where everything is intelligible in one throb of the artery."

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.