Yeats's Mask: Yeats Annual No. 19

Name: Yeats's Mask: Yeats Annual No. 19
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Author: Margaret Mills Harper and Warwick Gould (eds.)

Margaret Mills Harper and Warwick Gould (eds.)

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The admirable Yeats Annual [...] a powerful base of biographical and textual knowledge. Since 1982 the vade mecum of Yeats.

—Bernard O-Donoghue, The Times Literary Supplement

Yeats’s Mask, Yeats Annual No. 19 is a special issue in this renowned research-level series. Fashionable in the age of Wilde, the Mask changes shape until it emerges as Mask in the system of A Vision. Chronologically tracing the concept through Yeats’s plays and those poems written as ‘texts for exposition’ of his occult thought which flowers in A Vision itself (1925 and 1937), the volume also spotlights ‘The Mask before The Mask’ numerous plays including Cathleen Ni-Houlihan, The King’s Threshold, Calvary, The Words upon the Window-pane, A Full Moon in March and The Death of Cuchulain. There are excurses into studies of Yeats’s friendship with the Oxford don and cleric, William Force Stead, his radio broadcasts, the Chinese contexts for his writing of ‘Lapis Lazuli’. His self-renewal after The Oxford Book of Modern Verse, and the key occult epistolary exchange ‘Leo Africanus’, edited from MSS by Steve L. Adams and George Mills Harper, is republished from the elusive Yeats Annual No. 1 (1982).

The essays are by David Bradshaw, Michael Cade-Stewart, Aisling Carlin, Warwick Gould, Margaret Mills Harper, Pierre Longuenesse, Jerusha McCormack, Neil Mann, Emilie Morin, Elizabeth Müller and Alexandra Poulain, with shorter notes by Philip Bishop and Colin Smythe considering Yeats’s quatrain upon remaking himself and the pirate editions of The Land of Heart’s Desire. Ten reviews focus on various volumes of the Cornell Yeats MSS Series, his correspondence with George Yeats, and numerous critical studies.

Yeats Annual is published by Open Book Publishers in association with the Institute of English Studies, University of London. Further details, including how to order back issues, can be found at:

http://www.ies.sas.ac.uk/publications/yeats-annual

Yeats’s Mask: Yeats Annual No. 19
Margaret Mills Harper and Warwick Gould (eds.) | December 2013
xiii + 453 | 25 b&w illustrations | 5.5'' x 8.5'' (216 x 140 mm)
Yeats Annual, vol. 19 | ISSN: 0278-7687 (Print); 2054-3611 (Online)
ISBN Paperback: 9781783740178
ISBN Hardback: 9781783740185
ISBN Digital (PDF): 9781783740192
ISBN Digital ebook (epub): 9781783740208
ISBN Digital ebook (mobi): 9781783740215
DOI: 10.11647/OBP.0038
Subject codes: DSC (Literary studies: poetry & poets), LIT014000 (LITERARY CRITICISM / Poetry), LIT004120 (LITERARY CRITICISM / European / English, Irish, Scottish, Welsh)

You may also be interested in:

List of Illustrations
Abbreviations
Editorial Board
Notes on the Contributors
Editors’ Introduction
Acknowledgements and Editorial Information

YEATS’S MASK
The Mask before The Mask
WARWICK GOULD

The King’s Threshold, Calvary, The Death of Cuchulain: Yeats’s Passion Plays
ALEXANDRA POULAIN

To ‘make others see my dream as I had seen it’: Yeats’s Aesthetics in Cathleen ni Houlihan
AISLING CARLIN

‘Oxford Poets’: Yeats, T. S. Eliot and William Force Stead
DAVID BRADSHAW

Playing with Voices and with Doubles in Two of Yeats’s Plays: The Words upon the Window-pane and A Full Moon in March
PIERRE LONGUENESSE

The Mask of Derision in Yeats’s Prologue to A Vision (1937)
ELIZABETH MÜLLER

A Vision and Yeats’s Late Masks
MARGARET MILLS HARPER

The Mask of A Vision
NEIL MANN

‘I beg your pardon?’: W. B. Yeats, Audibility and Sound Transmission
EMILIE MORIN

Mask and Robe: Yeats’s Oxford Book of Modern Verse (1936) and New Poems (1938)
MICHAEL CADE-STEWART

The Poem on the Mountain: A Chinese Reading of Yeats’s ‘Lapis Lazuli’
JERUSHA McCORMACK

The Manuscript of ‘Leo Africanus’, Reprinted from Yeats Annual 1
edited by STEVE L. ADAMS and GEORGE MILLS HARPER

SHORTER NOTES
‘My Dear Miss Brachvogel...’ A Ms Version of a Yeats Quatrain
PHILIP R. BISHOP

The Land Of Heart’s Desire: Some Hitherto Unrecorded Printings – ‘Work in Progress’
COLIN SMYTHE

Wheels and Butterflies: Title, Structure, Cover Design
WARWICK GOULD

REVIEWS
W. B. Yeats and Lady Gregory, Where there is Nothing and The Unicorn from the Stars: Manuscript Materials, ed. Wim Van Mierlo
RICHARD ALLEN CAVE

The King’s Threshold: Manuscript Materials, edited by Declan Kiely
RICHARD ALLEN CAVE

W. B. Yeats, At The Hawk’s Well and The Cat and the Moon: Manuscript Materials, ed. Andrew Parkin
RICHARD ALLEN CAVE

Karen E. Brown, The Yeats Circle, Verbal and Visual Relations in Ireland, 1880–1939
TOM WALKER

W. B. Yeats and George Yeats, The Letters ed. Ann Saddlemyer; W. B. Yeats’s ‘A Vision’: Explications and Contexts, ed. Neil Mann, Matthew Gibson and Claire Nally
LAUREN ARRINGTON

Sean Pryor, W. B. Yeats, Ezra Pound and the Poetry of Paradise
STODDARD MARTIN

Writings on Literature and Art: G. W. Russell – A.E., edited and with an Introduction by Peter Kuch
NICHOLAS ALLEN

Joseph M. Hassett, W. B. Yeats and the Muses
MICHAEL CADE-STEWART

Michael McAteer, Yeats and European Drama
TARA STUBBS

R. F. Foster, Words Alone: Yeats and his Inheritances
GERALDINE HIGGINS

PUBLICATIONS RECEIVED

Margaret Mills Harper is Glucksman Professor of Contemporary Writing in English at the University of Limerick, Ireland. She is the author of Wisdom of Two: the Spiritual and Literary Collaboration of George and W. B. Yeats (2006) and The Aristocracy of Art: James Joyce and Thomas Wolfe (1990). She has co-edited two of the four volumes of Yeats’s "Vision” Papers (1992 and 2001). With Catherine Paul, she has edited A Vision (1925) and is now preparing A Vision (1937) for The Collected Works of W. B. Yeats (2008 and 2014).

Warwick Gould is Emeritus Professor of English Literature in the University of London and founding Director of its Institute of English Studies. He has edited Yeats Annual since 1983, a Series that, starting with Vol. 18, The Living Stream, was published in Open Access format by OBP. Warwick is co-author of Joachim of Fiore and the Myth of the Eternal Evangel in the Nineteenth and Twentieth Centuries (1988, rev. 2001), and co-editor of The Secret Rose, Stories by W. B. Yeats: A Variorum Edition (1981, rev. 1992), The Collected Letters of W. B. Yeats, Volume II, 1896–1900 (1997), and Mythologies (2005).

This entire volume is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License (CC BY-NC-ND 4.0), which enables you to share, copy, distribute and transmit the work in its entirety for personal and non-commercial use, providing editor and author attribution is clearly stated.

However all the text and many of the individual chapters are licenced under the more permissive Creative Commons Attribution 4.0 International Public License (CC BY 4.0), which additionally allows you to share, copy, distribute, transmit,adapt, and re-use the material so licenced, even for commercial purposes. Any material copied or adapted in this way must be attributed to the editors and the respective authors (but not in any way that suggests that they endorse you or your use of the work).

All attributions in relation to any part of this work should include the following information:

Margaret Mills Harper and Warwick Gould (eds.), Yeats’s Mask: Yeats Annual No. 19, Cambridge, UK: Open Book Publishers, 2013, http://doi.org/10.11647/OBP.0038

Further details about the various Creative Commons licenses are available at: http://www.creativecommons.org/licenses/

Some images have all rights reserved by the copyright holder. Every effort has been made to identify and contact copyright holders; any omissions or errors will be corrected if notification is made to the publisher. Please see the list of illustrations below:

1. Plaster cast of mask of W. B. Yeats by Kathleen Scott (née Bruce, later Lady Kennet), 1907. 17 1/2 in. (445 mm) high. Photograph courtesy and © The National Portrait Gallery, London. All rights reserved.

2. The ‘Palatium Arcanorum’, frontispiece of Christian Knorr von Rosenroth’s Kabbala Denudata seu Doctrina Hebræorum transcendentalis et metaphysica atque theological etc., 1677. Photograph courtesy and © The British Library. All rights reserved.

3 a-b. Yeats at the Microphone, very probably March 1937. Photographs of unknown authorship, courtesy Colin Smythe. Images in the public domain.

4. Yeats’s Lapis Lazuli mountain (given to him by Harry Clifton, and the inspiration of the poem ‘Lapis Lazuli’), front view. Photograph courtesy and © of the National Library of Ireland. All rights reserved.

6. Detail from "Ting Qin Tu”: Listening to the Qin, attributed to the Emperor Song Huizong (11th Century). Image in the public domain. See http://commons.wikimedia.org/wiki/File:Songhuizong8.jpg

7. Writing on a rock-face in Huangshan, Anhui Province. Photograph © H. K. Tang, CC BY-NC-ND license. See: http://www.flickr.com/photos/ehktang/4066986112/

9. First page of Lily Yeats’s letter to her American friend, Clara Brachvogel. Image in the public domain.

10. Photostat copy by Colin Smythe of inscribed front free endpaper of Lady Gregory’s lost bookplate copy of Yeats’s Poems, 1899–1905. Image in the public domain.

11. W. B. Yeats’s poem as inscribed in the Mosher Press edition of The Land of Heart’s Desire (1908). Image in the public domain.

12. Yeats’s inscription in The King’s Threshold – A Play in Verse (New York: Printed for Private Circulation [ John Quinn], 1904). Courtesy Yeats Estate and Beinecke Rare Book and Manuscript Library, Yale University. Image in the public domain.

13. Top page of John Quinn’s set of the Cuala proofs of Twenty-One Poems written by Lionel Johnson: Selected by William Butler Yeats (1904), inscribed by Yeats and his two sisters. Lily Yeats’s comment is ‘Not to be pirated, Oct 27th. 1904.’ Photograph courtesy and © private collector, all rights reserved.

14 a-f. Images of various states and editions of In the Land of Heart’s Desire [sic] published by the Thomas Y. Crowell Company of New York, c.1905 and later. Portrait by John Butler Yeats, remaining artwork of unknown authorship. Images in the public domain.

15 a-b. Images of The Land of Heart’s Desire [?1904]. Images in the public domain.

16 a-b. Images of The Land of Heart’s Desire published by the Walter H. Baker Company of Boston, 1919. Artwork of unknown authorship. Images in the public domain.

17 a-e. Images of various states and editions of The Land of Heart’s Desire published by Dodd, Mead, New York, c.1909. Artwork of unknown authorship. Images in the public domain.

18 a-f. Images of various states and editions of The Land of Heart’s Desire published by the Little Leather Library, New York, 1919 and later. Artwork of unknown authorship. Images in the public domain.

19 a-d. Images of various states and editions of The Land of Heart’s Desire [sic] published by the Shrewesbury Publishing Company, Chicago, after 1925. Images in the public domain.

20 a-d. Images of various states and editions of In the Land of Heart’s Desire [sic] published by the Haldeman-Julius Company as their Pockett and Little Blue Books Series, Girard, Kansas and Portland, Oregon, 1923 and after. Images in the public domain.

21-23. The bronzes cast before 1929 from Hildo Van Krop’s masks for The Woman of the Sidhe, Emer,

and Cuchulain in Vrouwe Emer’s Groote Strijd, the 1922 Dutch production of The Only Jealousy of Emer, and now in the Stadsschouwburg, Amsterdam. Photograph of unknown authorship, predating 1934. Image in the public domain.

24. Title-page design of Wheels and Butterflies (London: Macmillan, 1934). Artwork of unknown authorship. Image in the public domain.

25. Thomas Sturge Moore’s original design for the spine and top board of The Cutting of an Agate (London: Macmillan, 1919). Image courtesy and © Senate House Library, University of London. All rights reserved.