Ann Saddlemyer - Böcker

'I, the poet William Yeats, | With old mill boards and sea-green slates, | And smithy work from the Gort forge, | Restored this tower for my wife George; | And may these characters remain | When all is ruin once again.' With this lovely six-line poem, W. B. Yeats dedicated the renovation of Thoor Ballylee to his wife. But the poem's truth conceals another, and different truth - that they worked together at the restoration, and it was largely her vision and hands that created a dwelling from the former ruins. Just how symbolic this is, of the close but largely hidden collaboration between them, is revealed by this deeply-researched life of George Yeats - the first full-scale biography of a woman of remarkable gifts and generous self-concealment. Raised in the decades before the First War, in London literary salons where the arts and occult met, Georgie Hyde Lees became an art student, accomplished linguist, and serious scholar of medieval arcana, anthroposophy, and astrology. She was a lifelong friend of Ezra Pound and his wife Dorothy Shakespear, in whose social circle Yeats also moved; he sponsored her initiation to the Order of the Golden Dawn.In 1917 they married (she was 25, he 52), and on their honeymoon Georgie began the automatic writing which formed the substance of A Vision, and from which sprang the ideas that occupied Yeats for the rest of his life. Her 'extrasensory' perceptions fed his poetic imagery as her practicality and warmth supplied the environment for his writing. As with the restoration of Ballylee, they were intimate collaborators - but her instinct was always for self-effacement. Though valued by numerous writer-friends (among them Lennox Robinson, Thomas McGreevy, and Frank O'Connor) as a perceptive critic - and known to have written two plays and a novel, which she suppressed - she deliberately hid her talents from public view. Her choice was to appear as Yeats's wife, helpmeet, and secretary, the mother of his children - and for thirty years after his death the tireless overseer of his literary legacy and a knowledgeable adviser to generations of younger critics and writers. For the first time, this intelligent and creative woman is allowed to take centre stage.Drawing on memoirs and a wealth of unknown and unpublished sources, this biography by the distinguished scholar Ann Saddlemyer reveals someone much more significant than just 'Mrs W. B. Yeats' - a personality at once visionary and practical, and an important figure in twentieth-century literary history.

J. M. Synge was one of the key dramatists in the flourishing world of Irish literature at the turn of the century. This volume offers all of Synge's published plays, which range from racy comedy to stark tragedy, all sharing a memorable lyricism. The introduction to this new, definitive edition of Synge's plays sets them--and his other work--in the context of the Irish literary movement, with special attention to his role as one of the founders of the Abbey Theatre and his work alongside W. B. Yeats and Lady Gregory. Under the General Editorship of Michael Cordner of the University of York, the texts of the plays have been newly edited and are presented with a scholarly introduction and detailed annotation. Riders to the Sea; The Shadow of the Glen; The Tinker's Wedding; The Well of the Saints; The Playboy of the Western World; Deirdre of the Sorrows This book is intended for students of Irish Literature (especially drama).

'This authoritative edition adds a dimension to our understanding of John Millington Synge...annotated in generous detail.' British Book News'it is good to have all this material brought together, splendidly elucidated by Professor Saddlemyer's notes.' London Review of Books'a model of editorial scholarship.' Times Higher Education Supplement

room (although tight) on pp270 for LS barcode-if not drop in an extra 2 pages

During the twenty-two years of their married life, W. B. and George Yeats corresponded regularly and fully whenever they were apart. They discussed his writing and other projects, their family and friends, and the social, artistic, and political scene in Ireland and the United Kingdom in far more detail than with anyone else. Both were splendid and enchanting storytellers. This edition includes 149 letters from George, 436 from W. B., and 29 written to their children. Anne, who lived at home, preserved 22 from her father and several important ones from her mother; when both her parents were away. The letters include fascinating drafts of poems, statements of belief, candid descriptions of people and events, and in some cases offer biographical and historical corrections to the popular narrative of Yeats's life. Like Oscar Wilde, Yeats frequently practised a phrase or an anecdote to provide the best effect in his correspondence. And not for nothing would he write to his wife, 'you are much the best letter writer I know, or have known'. The letters between them not only tell the story of the marriage of two minds and the world they created, but also illuminate how Yeats worked on his writing and reveal a refreshing image of the poet as a family man.

'I, the poet William Yeats, | With old mill boards and sea-green slates, | And smithy work from the Gort forge, | Restored this tower for my wife George; | And may these characters remain | When all is ruin once again.' With this lovely six-line poem, W. B. Yeats dedicated the renovation of Thoor Ballylee to his wife. But the poem's truth conceals another, and different truth - that they worked together at the restoration, and it was largely her vision and hands that created a dwelling from the former ruins. Just how symbolic this is, of the close but largely hidden collaboration between them, is revealed by this deeply-researched life of George Yeats - the first full-scale biography of a woman of remarkable gifts and generous self-concealment. Raised in the decades before the First War, in London literary salons where the arts and occult met, Georgie Hyde Lees became an art student, accomplished linguist, and serious scholar of medieval arcana, anthroposophy, and astrology. She was a lifelong friend of Ezra Pound and his wife Dorothy Shakespear, in whose social circle Yeats also moved; he sponsored her initiation to the Order of the Golden Dawn. In 1917 they married (she was 25, he 52), and on their honeymoon Georgie began the automatic writing which formed the substance of A Vision, and from which sprang the ideas that occupied Yeats for the rest of his life. Her 'extrasensory' perceptions fed his poetic imagery as her practicality and warmth supplied the environment for his writing. As with the restoration of Ballylee, they were intimate collaborators - but her instinct was always for self-effacement. Though valued by numerous writer-friends (among them Lennox Robinson, Thomas McGreevy, and Frank O'Connor) as a perceptive critic - and known to have written two plays and a novel, which she suppressed - she deliberately hid her talents from public view. Her choice was to appear as Yeats's wife, helpmeet, and secretary, the mother of his children - and for thirty years after his death the tireless overseer of his literary legacy and a knowledgeable adviser to generations of younger critics and writers. For the first time, this intelligent and creative woman is allowed to take centre stage. Drawing on memoirs and a wealth of unknown and unpublished sources, this biography by the distinguished scholar Ann Saddlemyer reveals someone much more significant than just 'Mrs W. B. Yeats' - a personality at once visionary and practical, and an important figure in twentieth-century literary history.

J M Synge was one of the key dramatists in the flourishing world of Irish literature at the turn of the century. This volume offers all of Synge's plays, which range from racy comedy to stark tragedy, all sharing a memorable lyricism. The introduction sets Synge's work in the context of the Irish literary movement, with special attention to his role as one of the founders of the Abbey Theatre and his work alongside W. B. Yeats and Lady Gregory. Includes: Riders to the Sea; The Shadow of the Glen; The Tinker's Wedding; The Well of the Saints; The Play of the Western World; Deirdre of the Sorrows ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

When John Millington Synge and Molly Allgood fell in love, he was thirty-five, she nineteen. Neither knew that he had Hodgkin’s disease, of which he was to die in three years. Synge had already achieved recognition as a playwright—translations of two of his plays had been performed in Berlin and Prague—and he was codirector, with Yeats and Lady Gregory, of the Irish National Theatre Society. Allgood had started her acting career the year before, in the newly opened Abbey Theatre, with a walk-on part in Synge’s Well of the Saints. She had been promoted from crowd scenes to bit parts to lead roles in Riders to the Sea and The Shadow of the Glen. She was still only a member of the company, however, while Synge was a director, whose codirectors disapproved of fraternization. Synge and Allgood also faced the disapproval of two widowed mothers. Barring an occasional holiday trip or company road tour, they could seldom be alone together, except on secret afternoon meetings for long walks in the country. Hence their hundreds of letters.Molly Allgood’s letters do not survive; they apparently were destroyed when Synge died. But his letters convey her mercurial charm, her openness, her love of life, her impulsiveness, and her temper—as violent as his own. What they convey of him (when he is not reproving her or remonstrating with her, as he does in the early months of their relationship) is the love of nature, the poetic language, the bittersweet irony, the elemental quality of emotion, that we know from the plays. His concern for his craft is seen as he struggles with The Playboy. (“Parts of it are not structurally strong or good. I have been all this time trying to get over weak situations by strong writing, but now I find it won’t do, and I am at my wit’s end.”) Synge was quite unperturbed by the violent outrage and near-riots the play provoked. (“Now we’ll be talked about. We’re an event in the history of the Irish stage,” he wrote cheerily.)As his illness progresses, following operations in 1907 and 1908, there is great poignancy in the gradual abating of references to marriage plans and in the shift of salutation from “Dearest Changeling” to “My dearest child.” After Synge’s death his friends and biographers discreetly avoided mention of Allgood, who under her stage name of Maire O’Neill became one of the leading actresses of the Irish theater and lived until 1952. His letters to her have not been published before, except for the few quoted in Greene and Stephens’s 1959 biography. A primary source for the study of Synge and the Irish theater movement, the letters include poems inspired by Allgood and extensive information about Abbey Theatre business.In addition to a biographical introduction, Ann Saddlemyer has included a map of the Wicklow and Dublin areas and numerous photographs of both Synge and Allgood.