With notes on interpretive criticism 1910 to 1984
ISBN 978-0-86140-408-7 874pp.
The writings of William Blake were not understood by his contemporaries or the Victorians, and it was only in 1910, with the publication of Joseph Wicksteed's Blake's Vision of the Book of Job, that the long process of comprehending Blake's works seriously began.
Part 1 of the present work consists of twelve chapters that are primarily intended to lead the reader who has little or no acquaintance with Blake's more difficult works through all his books. These consist of Poetical Sketches, Songs of Innocence and of Experience, three early prose tractates, the eleven shorter prophetic books (including The Marriage of Heaven and Hell), the lyrics of the Pickering Manuscript, The Four Zoas, Milton, Jerusalem, The Gates of Paradise, The Ghost of Abel and Illustrations of The Book of Job.
The reader who wishes to explore a work more fully can proceed to Part II, where a headnote outlines the main scholarly views of its structure and meaning. The headnote for each book is followed by a survey, laid out line by line, of how such details as proper names, Blakean symbols, political allusions, and obscure phrases have been interpreted. Where there are engraved designs, these are covered in a comparable fashion. Part II will also be useful to those who want an overview of the interpretations of a particular work or passage and to readers interested in the evolution of twentieth-century understanding of Blake.
There are two indexes providing ready access to explanations of terms and proper names.
'Its nearly 900 pages comprise the most helpful overview of Blake's works and of Blake criticism I have ever come across... Highly recommended.' Bill Goldman in The Journal of the Blake Society
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HENRY SUMMERFIELD teaches in the Department of English at the University of Victoria, British Columbia. He is author of That Myriad-Minded Man, A Biography of G.W.Russell - 'AE', is General Editor of the Collected Works of G.W.Russell, and editor of A Selection from the Contributions to 'The Irish Homestead' by Russell. He is also author of An Introductory Guide to The Anathemata and the Sleeping Lord Sequence of David Jones.
A Supplement to 'Orders of Knighthood, Awards and the Holy See'
23.5 x 15.5 cm. 196 pp. illus. Van Duren 1987
With an Introduction by Archbishop, later Cardinal, Jacques Martin
This book attests to the fact that there is nothing more ancient, more venerable, more diversified than the Orders of Chivalry that have existed or still exist, and more desired, more sought after by certain people, than a papal decoration. It is always necessary to underline the essential differences between temporal decorations and those that are conferred by the sovereign Pontiff. A papal knighthood is not to be viewed solely as an honour, as a reward: it also incorporates a duty and a mission, that of serving and protecting the person of the Vicar of Christ. Papal Knights form a sort of army, on the devotion of which the Pope must be able to rely. To the Knight it is not the honour that matters but his obligations and services. + Jacques Cardinal Martin
Peter Bander van Duren's The Cross on the Sword is a supplement to his edition of the late Archbishop H.E. Cardinale's Orders of Knighthood, Awards and the Holy See (1985), and consolidates his revisions and additions that appeared in that work.
The first part deals with the statutes and regulations concerning the Pontifical Equestrian Orders of Pius IX, St. Gregory the Great and Pope St. Sylvester, the privileges granted to Papal Knights and their juridical position. As His Excellency Archbishop Jacques Martin writes in his introduction the author had to rely, for the information in this section, on ‘the Papal Briefs of the Orders' founders and the provisions made for the Papal Knights by Pope St. Pius X, many of which were contained in personal directives. It was left to Peter Bander van Duren to interpret them in the light of today's need as the Holy Father wrote them over eighty years ago.’
For the first time in the history of the Papal Knights, guidelines have been devised for an investiture ceremony, and the question of precedence has been examined in the light of the privileges granted to Papal Knights by Pope St. Pius X.
Part II deals with general juridical questions arising from Archbishop Cardinale's work, particularly the position of Catholic Orders of Knighthood that he stated were ‘extinct’, ‘abolished’, ‘suppressed’ or ‘in abeyance’. The author also examines the degree of importance that should be attached to the Bullarium Romanum when establishing the status of an Order.
Part III contains addenda to the 1985 edition of Orders of Knighthood, Awards and the Holy See concerning Catholic and Catholic-founded Orders of Knighthood, and Part IV introduces two Christian but not Catholic Orders, each unique in their nature.
The Cross on the Sword is a most useful work, not only for Papal Knights and everyone who may at one time or another be connected with their investiture ceremonies — Parish Priests, Masters of Ceremonies, diocesan and parochial administrations, for example — but also for everyone who is interested in Orders of Chivalry, and their continuing role in the world today. The illustrations not only show insignia — medals and uniforms — of the Orders examined in this book, but also illustrate the ceremonies themselves, adding a further dimension to the help that this work provides for the reader.
Edited and Introduced by Peter Kuch
32.6 x 13.8 cm. xxii, 474 pp. + 2pp. with three colour illus. 2011 Part 4 of the Collected Works of G. W. Russell - 'A.E.'
George William Russell, or AE as he was more familiarly known, was mentor and friend to three generations of Irish writers. To visit or to be sought out by AE was to be assured of a place in Irish literary history. The young James Joyce knocked on his door at midnight; Lady Gregory looked forward to his visits to Coole; Patrick Kavanagh walked from Inniskeen to Dublin to meet him; Yeats regarded him as his ‘oldest friend’; Liam O’Flaherty sought his patronage; Frank O’Connor asked his advice.
As if to guarantee Russell would not be forgotten, George Moore concluded his engaging, gossipy account of the literary movement, Hail and Farewell (1911-14), with a benediction for ‘AE and the rest’. Whether aspiring, accomplished, real or imaginary, Irish writers inevitably found themselves indebted to his practical help and inspired by his spiritual and critical insights. Even Stephen Dedalus admits to himself AEIOU.
This scrupulously researched volume brings together for the first time all of Russell’s writings on poetry, prose, drama and painting—writings central to understanding the role of literature, theatre and art in Ireland’s quest for self-realisation. Included are reviews, prefaces, introductions and articles; letters to the press on censorship and the Irish Academy of Letters; and The Honourable Enid Majoribanks, a hitherto unpublished play. Extensive notes drawing from published and unpublished sources situate each item in terms of text, intertext and context.
Peter Kuch is the inaugural Eamon Cleary Professor of Irish Studies at the University of Otago in Dunedin, New Zealand. The Director of the Centre for Irish and Scottish Studies at Otago, he is also an Honorary Professor at the John Hume Institute for Global Irish Studies at the University of New South Wales. He holds an Honours degree from the University of Wales and an M.Litt and D.Phil from Oxford. He has held posts at the Universities of Newcastle and New South Wales, Australia; L’Université de Caen, France; and been a Visiting Fellow at the Humanities Research Centre at the Australian National University, and the Anthony Mason European Fellow at Trinity College, Dublin. The author of Yeats and AE: ‘the antagonism that unites dear friends’ (Colin Smythe, 1988), he is currently researching a cultural history of the performance of Irish theatre in colonial Australasia.
1. “The Poetry of William B. Yeats”; 2. “A New Irish Poetess”: review of Eva Gore-Booth, Poems; 3. “Literary Ideals in Ireland”; 4. “Nationality and Cosmopolitanism in Literature”; 5. Review of Eleanor Hull, The Cuchullin Saga in Irish Literature; 6. Review of Edward Martyn, The Heather Field and Maeve 7. “Politics and Character”; 8. “Fiona Macleod’s New Book”: review of The Dominion of Dreams; 9. Review of Fiona Macleod, The Divine Adventure; 10. “A Note on William Larminie” in Stopford Brooke and T.W. Rolleston, eds., A Treasury of Irish Poetry; 11. “The Dramatic Treatment of Heroic Literature”; 12. “The Character of Heroic Literature”: review of Lady Gregory, Cuchulain of Muirthemne; 13. “The Poetry of William Butler Yeats”; 14. “A Book about the Earth Life”: review of Ethel Longworth Dames, Myths; 15. “A Note on Standish O’Grady” in Justin McCarthy, ed., Irish Literature; 16. “Preface” to New Songs; 17. “A Note on Seamus O’Sullivan”; 18. Review of T.W. Rolleston, The High Deeds of Finn; 19. “The Poetry of James Stephens”; 20. “The Boyhood of a Poet”; 21. “A Tribute to Standish O’Grady”; 22. “On Quality of Sound”; 23. Foreword to Shan F. Bullock, Mors et Vita; 24. Foreword to Liam O’Flaherty, The Black Soul; 25. Foreword to F.R. Higgins, Island Blood; 26. Foreword to Hugh Alexander Law, Anglo-Irish Literature; 27. “Address to the Thirtieth Annual Dinner of the American-Irish Historical Society”; 28. “The Censorship in Ireland”; 29. Introduction to Oliver St. John Gogarty, Wild Apples; 30. Foreword to Katharine Tynan, Collected Poems; 31. Review of Humbert Wolfe, Snow; 32. Introductory Essay to Hugh MacDiarmuidFirst Hymn to Lenin and Other Poems; 33. “On the Character in Irish Literature” in Frank O’ConnorThe Wild Bird’s Nest: Poems Translated from the Irish; 34. "The New Irish Academy – AE replies to Father Gannon”; 35. “The Irish Academy of Letters: Letter from AE”; 36. “The New Irish Academy: Letter from AE”; 37. “The New Irish Academy: Letter from AE”; 38. “Oliver St. John Gogarty: An Appreciation”; 39. Foreword to Oliver St. John Gogarty, em>Selected Poems; 40. Introduction to Seamus O’Sullivan, Twenty-five Lyrics; 41. Introduction to Irene Haugh, The Valley of Bells and Other Poems; 42. “Memories of A.R. Orage”; 43. “An Appreciation” of Ruth Pitter, A Mad Lady’s Garland; 44. Foreword to Joseph O’Neill, Land Under England; 45. “The Sunset of Fantasy”; 46. Deirdre: A Legend in Three Acts; 47. The Honourable Enid Majoribanks: a Comedy; 48. “Art in Ireland”; 49. “An Irish Sculptor: John Hughes”; 50. “The Spiritual Influence of Art”; 51. “Two Irish Artists”; 52. “An Artist of Gaelic Ireland”; 53. “Art and Literature”; 54. “Art and Barbarism”; 55. “The Lane Bequest”; 56. “An Appreciation” of J.B. Yeats, Essays: Irish and American; 57. “Hugh Lane’s Pictures”; 58. “Some Irish Artists”
Preface to Some Irish Essays; Prefaces to Imaginations and Reveries; “Nationality or Cosmopolitanism – 1925 text”; The Countess of the Wheel; Britannia Rule-the-Wave: A Comedy; “AE’s Oration: George Moore”; “An Artist of Gaelic Ireland – 1908 text”
Abbreviations used in Glossary of Mythological References and Notes and Commentary; Glossary of Mythological References; Guide to Notes and Commentary; Notes and Commentary – Literary Writings; Notes and Commentary – Writings on Art; Notes and Commentary – Appendices; Bibliography; Index
Horace Plunkett is remembered for his efforts to transform Irish agricultural practice, through the Co-operative Movement which he founded in 1889, and its administration via the Department of Agriculture, which he established ten years later.
From a protestant ascendancy background, Plunkett was one of those ‘fenian unionists' who were always able to see both sides of the Irish Question, and whose reforming zeal, and frank expression of opinion, during the period in which Ireland moved from benevolent Tory rule by Westminster, to independence for the south and partition of the island, brought him into conflict with all shades of political opinion.
This biography traces the development and interplay of his social and political philosophies, establishing Plunkett as the pioneer of modernisation of Ireland's principal industry, and as a political figure whose ideals and experience are of abiding interest.
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ISBN: / 978-0-86140-067-6
22.5 x x 15.5 cm. xiv, 274 pp. 1970 [Northern Illinois University Press] We have purchased their entire stock, and therefore allocated a new ISBN to this book.
This is the first comprehensive bibliography in English and the most complete in any language of the works of George Moore, the Anglo-Irish author whom Charles Morgan described as having ‘twice recreated the English novel’. Moore was the first critic to write in English of the Impressionist painters and of the works of Verlaine, Rimbaud, and Laforgue. In addition, he was instrumental in helping to sound the death knell of the Victorian three-decker novel, and later was a leader – with W. B. Yeats, Edward Martyn, and Lady Gregory – in Ireland’s literary renaissance. His writings and interests have been so diverse that few realise the scope of his work. During his lifetime, Moore was frequently the storm centre of one controversy or another. While leading to many amusing tales about him, this has tended to cloud his very real contribution to English literature, both as an innovator and as an accomplished artist. To achieve the perfection he constantly sought, Moore revised and rewrote probably more than any other modern .author, yet the resulting textual differences in various editions have scarcely been noted. Two previous bibliographies (both published nearly fifty years ago and more than ten years prior to Moore’s death) do not approach completeness; neither makes more than casual mention of revised texts, and neither notes translations and periodical appearances. Both limit consideration to English editions, although in some cases the American printings were the earliest.
This bibliography, which had its genesis more than thirty years ago, is based primarily on Edwin Gilcher’s personal collection, but every description has been checked against as many other copies as possible. It fully describes all works in first editions, both English and American, and all subsequent editions containing substantial revisions, as well as, for the sake of collectors, the various limited and illustrated editions. As far as possible all editions have been noted so that a student can quickly determine which text has been reprinted in any particular edition.
The first section, by far the longest, contains descriptions of all titles associated with Moore, including early works excluded by the author from the canon of his collected editions, and also pamphlets and occasional printings. The second section is devoted to books by other authors which contain contributions by Moore and which reprint letters of his. The third section lists periodical printings, and this listing is the most extensive that has been made to date. The fourth section lists the books, stories, and articles translated into thirteen foreign languages. The final section gives brief accounts of titles sometimes attributed to Moore, but actually not by him, and of works known to have been written by him, including a number of plays, which have never been published.
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Late in his career, the Irish poet Austin Clarke was asked by Robert Frost what kind of poetry he wrote. ‘I load myself with chains,’ Clarke replied, ‘and try to get out of them.’ ‘Good Lord!’ Frost said. ‘You can’t have many readers.’ Despite a distinguished career spanning almost sixty years, Austin Clarke has not had many readers outside Ireland. Inside Ireland, many critics ranked Clarke as the most important Irish poet writing after Yeats, but his work has not received extensive critical attention — partly because it is often difficult and complex, and partly because Clarke was committed to writing not just about the Irish, but also for the Irish.
In The Poetry of Austin Clarke, the first published book-length study of Clarke’s poetry, Gregory Schirmer argues against seeing Clarke as a provincial writer. Rather, he sees Clarke’s large and varied canon as informed by a broad humanistic vision that enables it to transcend Clarke's commitment to the local.
Clarke once said that in reading Joyce’s A Portrait of the Artist as a Young Man he had difficulty distinguishing between Stephen Dedalus and himself. Like Joyce, Clarke (1896-1974) came to see Irish Catholicism as a powerful and complex threat to his freedom and artistic vocation. In The Poetry of Austin Clarke, Schirmer asserts that almost all of Clarke’s poetry moves between two poles: his view of Irish Catholicism as a repressive, life-denying force, and his humanistic faith in man’s inherent goodness and right to moral, intellectual, and spiritual freedom.
This argument is advanced through a detailed reading of Clarke’s poetry, beginning with the early narrative poems, which are based on the same pre-Christian Irish legends that inspired Yeats and the Irish Literary Revival, and then turning to Pilgrimage (1929) and Night and Morning (1938), two volumes of lyrics that are central to understanding Clarke’s poetry as a whole. In these books, Clarke sets forth the terms that govern all his art – the struggle between humanism and religion, flesh and spirit, reason and faith. Clarke’s satirical poems and epigrams of the 1950s and 1960s are then examined in terms of this tension. Finally the book discusses Clarke’s later poetry, including the long, semi-autobiographical Mnemosene Lay in Dust (1966), the late erotic poetry, and Clarke’s free translations of Gaelic verse.
Throughout all this varied writing, Schirmer argues, Clarke is celebrating the human in the face of the forces that he sees ranged against it. It is this vision that makes Clarke’s poetry an important part, not just of Irish literature, but of all literature attempting to express man’s condition in the twentieth century.
ISBN 978-0-86140-214-4 21.6 x 13.8 cm.
For over five centuries the essays of Ze-Ami – considered, with his father Kan-Ami, to be the founder of Noh, the classical dance-drama of Japan – were kept secret. They were not shown to more than one Noh actor in each generation until recently. Though they contain a large number of paradoxes and contradictory statements as well as a great deal of repetition, they were regarded as a Bible by actors in the Noh technique. As repetition was a constant feature in training and in techniques in many arts in Japan, and as paradox had often been used in the search for the truth in Zen, so Ze-Ami's essays were accepted, despite their repetitions, paradoxes and contradictions. They were not. however, easily translatable, and they benefit from being edited.
In this work therefore, Ze-Ami's ideas are dealt with in eight chapters: The History of Noh: Five Groups of Noh Plays: Training: Acting: Writing a Play: Public Tachiai Competitions and Grades of Acting: The Audience: and Hana. This arrangement presents Ze-Ami's ideas with some order and consistency. Relevant sections of eighteen essays by Ze-Ami are translated and discussed. These include Fushi-kaden, Kashū, Ongyoku-Kowadashi-kuden, Kukyō, Shikadō, Nikyoku-Santai-Ningyōzu, Sandō, Fushizuke-shidai Fukyokushū, Yūgaku-Shūdō-Fūcken, Goi, Kyūi, Rikugi, Shūgy-okutokuka, Goonkyoku-Jōjō, Goon, Shūdosho, Kyakurui-ku, and Zeshi-Roku-juigo-Sarugaku-Dangi.
This volume is a most useful introduction to an understanding of Noh history, practice, and technique, for all readers in the West, written as it is by a trained Noh actor..
This volume of critical essays and of creative writings brings together work by distinguished authors in many fields in honour of Alexander Norman Jeffares: English literature, Irish and Anglo-Irish Literature and Commonwealth literature, all fields which gained his interest throughout his life and to which he has contributed much, both through the spoken and printed word – as can be’ seen from the bibliography of his writings at the end of this volume.
Scholarship and criticism are deployed by the essayists to show how literature, by virtue of its creativity, offers a human and vivid insight into the individual in his or her society.
Poets and imaginative writers of many traditions deepen and extend our understanding of the creative impulse and its immediacy through their own work.
23.4 x 15.5 cm. 189 pp. incl. over 100 illus.
This book contains Revd Geoffrey Edmonds’ work, last published by this company in 1968, and Dr Audrey Baker’s hitherto unpublished history of Bulstrode, past home of Judge Jeffreys, the Dukes of Portland and then the Dukes of Somerset.
While Chalfont St Peter dates back to before the Norman Conquest, and Bulstrode to the time of the Knights Templar, the parish of Gerrards Cross is a newly formed entity, being carved out of five neighbouring parishes, and greatly expanded following the 1906 opening of the London to High Wycombe Great Western & Great Central Joint Railway line which passed through the village.
Through their separate histories both Dr Baker and the Revd Edmonds chart the history of the locality through the centuries, showing how it has evolved from Anglo-Saxon and medieval times, through the Reformation, the Cromwellian period and Restoration, the Hanoverian and Victorian eras to the 20th century, and how the great families who came to live here gained or lost power, rose, fell or moved on, as well as the creation of Gerrards Cross over the past century.
In addition to the hundred or so illustrations within the book (including a number showing the construction of the railway through Gerrards Cross), the cover reproduces a watercolour of Chalfont Park by J.M.W.Turner, that was unknown until 2002.
The index features every person, place and house mentioned by the authors so residents can see what parts of the book relate to their home or the part of the villages in which they live
The Revd Geoffrey Edmonds (1902-75) was born in Rochester, Kent. He obtained an MA degree at Pembroke College, Cambridge, before studying Divinity at Mansfield College, Oxford. He was Congregational Minister at Oxted, Surrey, and in 1950 moved to Gerrards Cross, where he was Minister until his retirement in 1972, and where he continued to live until his death. Apart from being a keen chess player, and a keen historian, he was very interested in the activities of the village, being a Trustee of the Gerrards Cross Memorial Centre, a Governor of the local school and a Rotarian.
After reading Modern History at St Hilda’s College, Oxford, Audrey Baker studied History of Art at the Courtauld Institute and received her doctorate from the University of London. She specialised in medieval art, and published a number of long and detailed articles in major periodicals such Archaeologia, and the Archaeological Journal. She sometimes collaborated with Dr E. Clive Rouse. In the last years of her life she concentrated on local history and published various articles in The Records of Buckinghamshire, the journal of the Buckinghamshire Archaeological Society. Dr Baker and the Revd Geoffrey Edmonds were co-founders of the Chalfont St Peter and Gerrards Cross Local History Society.More info →
Edited and annotated by Raghavan and Nandini Iyer
This volume contains A.E.'s known mystical writings, including his four major works, The Avatars (1933), The Candle of Vision (1918), The Interpreters (1922), and Song and its Fountains (1932), together with his letters and other prose contributions to Dana, Ethical Echo, The Internationalist, The Irish Theosophist, Lucifer, and Ourselves, W.Y.Evans Wentz's interview with A.E. in The Fairy-Faith in Celtic Countries, A.E.'s first independent publication, To the Fellows of the Theosophical Society, his introduction to City Without Walls, and many other spiritual books, reviews and his hitherto unpublished story ‘The Return’.
Although Russell, known as A.E., was a poet, painter, newspaper editor, and a political writer, working for three decades in the Irish cooperative movement, it is probably as a mystic that he attracts contemporary attention. His writings on mystical and mythological topics, reflecting his study of Hindu and Theosophical teachings as well as his own visionary experience, offer a unique and inspiring exploration of unseen worlds.
Interpretation of the context and significance of A.E.’s thinking is facilitated for the reader of this collection by the extensive introduction and copious notes offered by Professors Raghavan Iyer and Nandini Iyer.
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Florence Farr: Bernard Shaw's 'New Woman' is the first biography of an unjustly neglected figure. Florence Farr was a member of the occult Order of the Golden Dawn, and was closely connected with Bernard Shaw and W.B.Yeats; to the first she was a mistress and companion, in the second it was probably a spiritual relationship only. For years the unrevealed facts of her life have in part caused a void in both their biographies. She sought spiritual as well as physical independence, and she achieved intellectual recognition when it was unfashionable for women to do so.
She was a mystic, and author, and a valiant although not superior actress in the years when it was not absolutely necessary to be the prototype of Ibsen's new woman. It is not so much her sentiments for Yeats and Shaw that appeal to us now, years after their deaths, but theirs for Florence Farr.
This timely book fills a gap in the literary history of the turn of the century, and the author has been fortunate in being able to use hitherto unpublished correspondence and manuscripts by her subject.
1. William Farr, 1807-1883
2. The Beginning of a New Woman: Queen's College and Edward Emery
3. Hammersmith and Bedford Park, 1889-1890
4. Bernard Shaw and Florence Farr: The New Drama, 1891-1897
5. The Golden Dawn and Other Mysteries, 1890-1904
6. The Music of Speech, 1890-1906
7. Florence and John Quinn, 1907
8. The New Woman as Journalist, 1907-1908
9. 'Second always , . . yet this is you', 1907-1912
10. Ceylon, 1912-1917
xii, 108pp., 28.5 x 18.7 cm. 1997
To mark the first twenty years as Francis Warner's publisher, years which included our publication of thirteen books by him (as well as a number of books about his work), and to mark his sixtieth birthday Colin Smythe Ltd. published this volume containing poems written since those published in Collected Poems 1960-1984, together with lyrics from his recent plays.
This book, Nightingales: Poems 1985-1996, is designed by Michael Mitchell, set in Lutetia Italic type, and printed in three colours throughout and embellished with real gold-leaf motifs in a limited edition of 500 signed and numbered copies on mould-made Velin Arches rag paper by the Libanus Press, Marlborough. It is bound by Brian Settle of Smith Settle, Otley, in quarter vellum with boards covered by paste paper made by Victoria Hall of Norwich.
The Libanus Press was founded by designer and printer Michael Mitchell thirty years ago. Working together with two highly-skilled journeymen, compositor and printer, the Press reflects all the splendid qualities of such presses as William Morris's Kelmscott Press and St John Hornby's Ashendene Press. It uses three relief presses and has maintained one of the few remaining type foundries in the country allowing it to produce high quality type for each individual work. Its range and knowledge of the world's best handmade papers gives it the broadest experience of print on the most interesting and beautiful materials, and has persevered with nearly lost techniques, such as the printed application of gold leaf used in the present volume. Numbered amongst the books produced by the Press in the past have been a series of dual text publications - a new translation of Plato's Symposium that is now the contemporary benchmark, Voltaire's Candide, The Letters of Pietro Bembo to Lucrezia Borgia and Extracts from War and Peace - Greek, French, Italian and Russian, giving it unparalleled editorial and design expertise with texts.
‘What a triumphant harvest!’
Dr George Rylands, King’s College,Cambridge
‘A sumptuous treat. It is good to have an unashamedly lyric poet of such talent.’
The Bishop of Oxford
23.4 x 15.3 cm. xx, 500 pp.
Omnium Gatherum was conceived by the editors, Susan Dick, Declan Kiberd, Dougald McMillan and Joseph Ronsley, all past students of Richard Ellmann, as a festschrift to mark his retirement, but on his death some months later in May 1987 it became a memorial volume, and now honours his memory.
Containing over forty contributions, this collection begins with a number of personal pieces in prose and verse on Richard Ellmann and his work, and while most of the essays are on various aspects of the twentieth century literary figures that formed the centre of his wide range of literary interests – Joyce, Wilde and Yeats – there are also essays on Isabel Archer, Samuel Beckett, T. S. Eliot, Northrop Frye, Henry James, Denis Johnston, D. H. Lawrence, Edgar Allan Poe, Ezra Pound, Wallace Stevens, Lytton Strachey, Virginia Woolf, and Modernism, as well as a Chronology and a Bibliography.
The contributors are Daniel Albright, Alison Armstrong, Christopher Butler, Carol Cantrell, Jonathan Culler, Elizabeth Butler Cullingford, Andonis Decavalles. Rupin Desai, Susan Dick, Terence Diggory, Denis Donoghue, Terry Eagleton, Rosita Fanto, Charles Feidelson, James Flannery, Charles Huttar, Bruce Johnson, John Kelleher, Brendan Kennelly, Frank Kermode, Declan Kiberd, Peter Kuch, James Laughlin, A. Walton Litz, Christie McDonald, Dougald McMillan, Dominic Manganiello, Ellsworth Mason, Vivian Merrier, Seán Ó Mórdha, Mary T. Reynolds, William K. Robertson, Joseph Ronsley, S. P. Rosenbaum, Ann Saddlemyer, Sylvan Schendler, Daniel Schneider, Fritz Senn, Jon Stallworthy, Lonnie Weatherby, Thomas Whitaker, and Elaine Yarosky.
For many years Kathleen Raine has been known as the leading exponent of what she herself calls ‘the learning of the imagination’ in the work of Blake, Yeats and other poets and scholars within (using the word in its broadest sense) the Platonic tradition. Yeats the Initiate contains all Dr Raine’s essays on Yeats, covering many aspects of the traditions and influences that informed his great poetry. Several of her essays in this field are already regarded as definitive evaluations of their subjects and these, with other hitherto uncollected studies and some new papers here printed for the first time, all fully illustrated and annotated, make Yeats the Initiate one of the most important publications of recent years in the field of Yeats studies.
The essays collected in Yeats the Initiate include ‘Hades Wrapped in Cloud’, a study of Yeats and the occult, Dr Raine’s introduction to Yeats’s collections published as Fairy and Folk Tales of Ireland, and three major studies previously published separately – Yeats, the Tarot and the Golden Dawn; From Blake to ‘A Vision’ and ‘Death-in-Life’ and ‘Life-in-Death’. A major paper on ‘Yeats on Kabir’ is printed for the first time, as is a topographical paper on the Sligo area in the West of Ireland. A long essay on Yeats’s debt to Blake has been extensively revised, and other topics discussed include the play Purgatory, Yeats’s contemporary, Æ (G.W.Russell, the visionary), and Kathleen Raine’s own poetic debt to Yeats.
The essays that make up this volume reflect a lifetime’s knowledge presented with the fine perception of a great poet. The many illustrations form a graphic accompaniment to the text. It is essential reading for all students of the life and work of William Butler Yeats.
This volume, the first full collection of Francis Warner’s poems for more than twenty years, confirmed his position as a master of lyric form, and also made possible a deeper awareness of the consistency of his development, and the range of his poetic achievement.
Collected Poems contains sonnets in every classical form – also sonnets reversed, inside-out, upside-down, ends-to-middle, with centre-rhyme, boot-lace rhyme, in two voices, acrostic, double acrostic. . . . Far from being merely a cascade of virtuosity, they are filled with deep emotion and rich experience, as well as being precisely made: modifications of the form grown from the pressure and directions of the emotions. The ‘dark’ sonnets are here (this time along with more than fifty others), but these now can be seen set in their original context, the sequence Experimental Sonnets – a book about which much has been written, on account of its technical innovations and its range of feeling, but the full text of which had been unavailable for twenty years.
In addition to such longer poems as his classical evocation Perennia, and over one hundred lyrics brought together for the first time, there are songs from ten plays.
‘Some of the most rewarding and individual poetry of the last quarter century.’ Glyn Pursglove in Francis Warner’s Poetry (1988)More info →
23.3 x 15. 8 cm. xxiv, 283 pp. with over 50 illustrations
A critical work about one of the leading figures in modern poetry, this book shows how Yeats perfected great songs – “Crazy Jane on the Day of Judgment”, “Three Things”, “After Long Silence”, “Her Triumph” – and great choruses – “Colonus’ Praise”, “From ‘Œdipus at Colonus’” and “From the ‘Antigone’”. The author follows the manuscript development of each poem to discover its full context in life and culture, to illuminate obscurities in the finished text, or simply to witness in amazement the emergence of a true poem from a tangle of abstractions. As a result, the reader is given original and interesting interpretations of the songs and choruses as final works of art.
“When I prepared ‘Œdipus at Colonus’ . . . wrote Yeats, “I saw that the wood of the Furies . . . was any Irish haunted wood.” Clark shows that Yeats remembered Greece when he wrote songs for Crazy Jane. Greek myth appears in the songs, and Greek choruses appear in the “Irish” song cycles. The last word in “A Man Young and Old” is spoken of Œdipus and the last word in “A Woman Young and Old” of Antigone. Classical figures rub elbows with Huddon and Duddon and Daniel O’Leary. In “Her Triumph” the woman sees herself and her lover as Perseus and Andromeda.
Paintings, often of mythological subjects, were part of the context for Yeats’s poems. Yeats was an art student and the son and brother of well-known painters. The manuscripts show exactly what paintings – by Bellini, Carpaccio, Titian – were in Yeats’s thought when he wrote “Her Triumph” and Clark concludes that one of Burne-Jones’s Perseus series was the chief model for the poem’s imagery. Other poems, too, were written in the context of Yeats’s knowledge of art. Relevant illustrations are included. Manuscripts too are photographically reproduced.
Among the many comments on Clark’s skill as an interpreter of Yeats are: “Clark varies his approach to fit the materials at hand: with one poem he will emphasize the visual sources, for example, whereas with another lyric he will concern himself with biographical matters . . . Clark’s scholarship is quite sound, and he is working at the frontiers of Yeats scholarship.” – Richard J. Finneran, editor, Anglo-Irish Literature, A Review of Research
“Clark’s intricate analysis of Yeats’s ‘After Long Silence’ is a jewel of scholarship, moving and illuminating: in his analysis of the poem, and of the manuscripts out of which it emerged, Clark seems to have moved for a moment into Yeats’s mind.” - Robert O’Driscoll, The University of Toronto Quarterly.
'A pleasure to read....a book for anyone interested in Yeats or the creative process, a real contribution to Yeats studies.' Books Ireland'A pleasure to read....a book for anyone interested in Yeats or the creative process, a real contribution to Yeats studies.' Books Ireland
Professor of English at the University of Massachusetts, Amherst, David Clark was the author of Lyric Resonance: Glosses on Some Poems by Yeats, Frost, Crane, Cummings and Others and of Dry Tree: Poems. He has also either edited or coedited a number of works on modern literature and on Irish culture.
Vol 1 ISBN: 0-86140-272-3 / 978-0-901072-272-4 £30.00
Vol 2 ISBN:0-86140-273-1 / 978-0-901072-273-1 £30.00
The Pair ISBN: 0-901072-40-0 / 978-0-901072-40-5 £60.00
Originally advertised as Ireland and Romanticism, Patrick Rafroidi’s work is a revised and updated translation of his much acclaimed L’Irlande et le romantisme (1972). It is now published for the first time in English in two volumes, the first a study of the period and its authors, and the second an important work of reference on all the Irish literary figures of the time.
The study is divided into three sections, ‘Prelude to Romanticism’, ‘Nationalist Romanticism’, and ‘The Impact of Irish Romanticism’, with extensive notes and an index. Professor Rafroidi studies the causes of the movement, how it was influenced by political and literary landmarks of the time, and how the authors themselves influenced others, not only in England but also in the United States, in France and in Germany, and their rediscovery and use of Ireland’s early history and myths.
The reference section contains a general bibliography, bio-bibliographies of the Irish authors whose work was published between 1789 and 1850, information as to the performances of their plays in the most important theatres in the British Isles, and a list of the principal Irish periodicals of the time.
This is therefore a most useful work for all those interested in the period, and the bibliographies make it an essential work of reference which all libraries and students of Anglo-Irish Literature will need on their shelves, for continuous referral.
21.6 x 13.8 cm. 262 pp. 2003
It is well known that through their plays and lecture tours the dramatists of the Irish Literary Revival influenced and inspired those of America and elsewhere to set up their own national theatres and theatre movements, but most students of the Revival are unaware of just how far this influence extended. It would surely have surprised the founders and early playwrights of the Abbey Theatre to learn that their plays were not only being published in Japan (which they knew), but were also influencing translators, playwrights, critics and theatre associations in Korea – though it is hardly surprising that with little knowledge of Irish culture the translators often misinterpreted the plays and gave them political or social slants entirely lacking in the originals.
In the present work, Won-Jae Jang describes the development of Korean theatre societies such as the Theatre Arts Association, the Earth Moon Society, and the Theatre Arts Research Association during the first quarter of the 20th century, how plays by Lady Gregory, J.M. Synge, Lord Dunsany, Sean O’Casey and T.C. Murray were interpreted – or misinterpreted – by Korean translators, and then describes their impact on Korean dramatists, showing in particular how the work of Synge and O’Casey influenced Chi-Jin Yoo (translations of three of whose plays – The Cow, The Mud Hut and The Donkey – are published in a companion volume, ISBN 978-0-86140-452-0), and Murray influenced Se-Deok Ham. This work therefore opens up Irish Drama’s hitherto little-known influences on a region of the Eastern hemisphere.
Won-Jae Jang was born in Seoul, graduated from Korea University (BA), and Goldsmiths College, University of London (MA), and was granted his PhD from Royal Holloway, University of London in 2000. He is now working for Soongsil University as a Junior Professor.
All the papers in Medieval and Modern Ireland were presented at the eighteenth annual international conference of the Canadian Association for Irish Studies, held at Calgary, Alberta, in February 1985. The conference theme, Medieval and Modern Ireland, was chosen by the organising committee for its intrinsic merits, and as a reasonable extension of the theme of the previous conference which focused on the nineteenth and twentieth centuries.
Readers of this volume will be struck by the pervasiveness of the connections between the medieval and the modern in Ireland and the Irish, artists in particular, and realise why James Joyce could hardly avoid linking the modern Irish artist with the medieval Irish monk, as he does in the bitter musings of Stephen Dedalus, who walks alone into eternity along Sandymount Strand: ‘You were going to do wonders, what? Missionary to Europe after fiery Columbanus.’
The contributors are Hallvard Dahlie, Ann Dooley, John Wilson Foster, Brian John, Toni O’Brien Johnson, Heinz Kosok, F. X. Martin O.S.A., and Wolfgang Zach.
Chosen, edited and introduced by Claudia Harris
21.6 x 13.8 cm. liv, 258pp. + 8pp. with 16 illus. hardback November 2005
The Charabanc Theatre Company played a major role in Northern Ireland’s theatrical renaissance during the 1980s. Charabanc was formed by five out-of-work Belfast actresses (Marie Jones, Maureen Macauly, Eleanor Methven, Carol Moore, Brenda Winter) who first collected stories and then collaborated in writing and performing highly original plays for enthusiastic audiences. From 1983 to 1995, the company toured twenty-tour productions extensively throughout Ireland and the world, spreading their own particular brand of exuberant, dark humour.
The four plays in this collection – Now You’re Talking (1985), Gold in the Streets (1986), The Girls in the Big Picture (1986), and Somewhere Over the Balcony (1987) – represent the creative high point of the company. These entertaining plays show the broad range of the company’s work: portraits of urban and rural women; early, mid-, and late twentieth century settings, and various social, religious, historical political, or personal relations.
Marie Jones, Eleanor Methven, and Carol Moore were the remaining company principals during the mid-1980s when these four plays were created and performed. Marie Jones became the main writer for Charabanc and after leaving the company in 1990 has continued to write, notably the award-winning Stones in His Pockets. Eleanor Methven and Carol Moore continued on as artistic directors until they disbanded the company in 1995. Eleanor Methven now lives in Dublin and is a sought-after actress for stage and screen, and her first screenplay is in development with Journeyman Films. Carol Moore obtained an MA from Queen’s University, Belfast, and still acts for stage and film, but is now primarily an accomplished stage and screen director; in May 2005 she received a NESTA (National Endowment for Science Technology and the Arts) Fellowship.
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