- [UNTITLED]
- Dedication
- Acknowledgements
- Preface
- List of Contributors
- Recovering Ancient Ireland
- Yeats and Symbolism
- Yeats, Clarke, and The Irish Poet's Relationship With English
- ‘The Roses are Torn’: Ireland's War Poets
- ‘Pledged to Ireland’: The Poets and Poems of Easter 1916
- W. B. Yeats: Poetry and Violence
- Yeats, Eliot, and The Idea of Tradition
- Irish Poetic Modernism: Portrait of The Artist in Exile
- Samuel Beckett: Exile and Experiment
- Voice and Voiceprints: Joyce and Recent Irish Poetry
- Patrick Kavanagh's ‘Potentialities’
- Macneice Among His Irish Contemporaries: 1939 and 1945
- The Poetics of Partition: Poetry and Northern Ireland in the 1940s
- Disturbing Irish Poetry: Kinsella and Clarke, 1951–1962
- Memory and Starlight in Late Macneice
- Modern Irish Poetry and The Visual Arts: Yeats to Heaney
- Poetry, Music, and Reproduced Sound
- ‘Private Relations’: Selves, Poems, and Paintings—Durcan to Morrissey
- Contemporary Northern Irish Poetry and Romanticism
- ‘Ghosts of Metrical Procedures’: Translations From the Irish
- Translation as Collaboration: Ní Dhomhnaill and Muldoon
- Incoming: Irish Poetry and Translation
- A Stylistic Analysis of Modern Irish Poetry
- Befitting Emblems: The Early 1970s
- ‘Neurosis of Sand’: Authority, Memory, and the Hunger Strike
- Engagements With the Public Sphere in the Poetry of Paul Durcan and Brendan Kennelly
- Domestic Violences: Medbh Mcguckian and Irish Women's Writing in the 1980s
- Catholic Art and Culture: Clarke to Heaney
- In Belfast
- ‘Our Lost Lives’: Protestantism and Northern Irish Poetry
- Walking Dublin: Contemporary Irish Poets in the City
- The Irish Poet as Critic
- The Poet as Anthologist
- Irish Poetry and the News
- The Modern Irish Sonnet
- Irish Elegy After Yeats
- ‘Repeat the Changes Change the Repeats’: Alternative Irish Poetry
- ‘The Nothing-Could-Be-Simpler Line’: Form in Contemporary Irish Poetry
- New Irish Women Poets: The Evolution of (in) Determinacy in Vona Groarke
- ‘A Potted Peace/Lily’? Northern Irish Poetry Since the Ceasefires
- Select Bibliography
- Index
Abstract and Keywords
The poetry of T. S. Eliot tells us something about W. B. Yeats's relationship to critical and aesthetic tendencies that were operative in Ireland, Britain, America, and continental Europe from the 1890s onwards. The two Irish poets both felt the need to respond to the innovations of French symbolism, especially as interpreted by Arthur Symons in The Symbolist Movement in Literature. A problem shared by Yeats and Eliot was that of relating what is, in its essentials, a modern picture of the mind to tradition. This chapter compares the views of Yeats and Eliot with respect to tradition, first looking at romanticism, focusing on what idea of romantic poetry is being promoted and how it is linked to nation. It then examines the implications of ‘country spiritism’. The chapter concludes by reflecting on the idea of culture in Yeats and Eliot based on the former's comments on Henry Grattan and John O'Leary.
Keywords: poetry, W. B. Yeats, T. S. Eliot, tradition, culture, Ireland, symbolism, romanticism, country spiritism, Arthur Symons
EDWARD LARRISY is Professor of Poetry and Head of the School of English at Queen’s University, Belfast, where he is affiliated to the Seamus Heaney Centre for Poetry. Before that he was Professor of English at the University of Leeds, where he led the AHRC project ‘Leeds Poetry 1950-1980.’ His books include Reading Twentieth Century Poetry: The Language of Gender and Objects (1990), Yeats the Poet: The Measures of Difference (1994) and Blake and Modern Literature (2006). He has edited Romanticism and Postmodernism (1999) and W.B. Yeats: The Major Works (2000). Professor Larrissy is a Member of the Royal Irish Academy.
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- [UNTITLED]
- Dedication
- Acknowledgements
- Preface
- List of Contributors
- Recovering Ancient Ireland
- Yeats and Symbolism
- Yeats, Clarke, and The Irish Poet's Relationship With English
- ‘The Roses are Torn’: Ireland's War Poets
- ‘Pledged to Ireland’: The Poets and Poems of Easter 1916
- W. B. Yeats: Poetry and Violence
- Yeats, Eliot, and The Idea of Tradition
- Irish Poetic Modernism: Portrait of The Artist in Exile
- Samuel Beckett: Exile and Experiment
- Voice and Voiceprints: Joyce and Recent Irish Poetry
- Patrick Kavanagh's ‘Potentialities’
- Macneice Among His Irish Contemporaries: 1939 and 1945
- The Poetics of Partition: Poetry and Northern Ireland in the 1940s
- Disturbing Irish Poetry: Kinsella and Clarke, 1951–1962
- Memory and Starlight in Late Macneice
- Modern Irish Poetry and The Visual Arts: Yeats to Heaney
- Poetry, Music, and Reproduced Sound
- ‘Private Relations’: Selves, Poems, and Paintings—Durcan to Morrissey
- Contemporary Northern Irish Poetry and Romanticism
- ‘Ghosts of Metrical Procedures’: Translations From the Irish
- Translation as Collaboration: Ní Dhomhnaill and Muldoon
- Incoming: Irish Poetry and Translation
- A Stylistic Analysis of Modern Irish Poetry
- Befitting Emblems: The Early 1970s
- ‘Neurosis of Sand’: Authority, Memory, and the Hunger Strike
- Engagements With the Public Sphere in the Poetry of Paul Durcan and Brendan Kennelly
- Domestic Violences: Medbh Mcguckian and Irish Women's Writing in the 1980s
- Catholic Art and Culture: Clarke to Heaney
- In Belfast
- ‘Our Lost Lives’: Protestantism and Northern Irish Poetry
- Walking Dublin: Contemporary Irish Poets in the City
- The Irish Poet as Critic
- The Poet as Anthologist
- Irish Poetry and the News
- The Modern Irish Sonnet
- Irish Elegy After Yeats
- ‘Repeat the Changes Change the Repeats’: Alternative Irish Poetry
- ‘The Nothing-Could-Be-Simpler Line’: Form in Contemporary Irish Poetry
- New Irish Women Poets: The Evolution of (in) Determinacy in Vona Groarke
- ‘A Potted Peace/Lily’? Northern Irish Poetry Since the Ceasefires
- Select Bibliography
- Index
