By W. B. Yeats
A brand new annotated variation of Yeats’s quintessential, lifelong paintings of philosophy—a meditation at the connections among the mind's eye, historical past, and the metaphysical—this quantity finds the poet’s maximum suggestions at the occult.
First released in 1925, after which considerably revised by way of the writer in 1937, A Vision is a distinct paintings of literary modernism, and revelatory advisor to Yeats’s personal poetry and pondering. critical to an realizing of the poet’s overdue paintings, and entrancing by itself benefit, the booklet provides the “system” of philosophy, psychology, heritage, and the lifetime of the soul that Yeats and his spouse, George, acquired and created by way of mediumistic experiments from 1917 during the early Twenties. Yeats obsessively revised the unique e-book that he wrote in 1925, and the 1937 model is the definitive model of what Yeats desired to say.
Now, provided in a scholarly version for the 1st time via Yeats students Catherine E. Paul and Margaret generators Harper, the 1937 model of A Vision is a vital, crucial literary source and vital for all critical readers of Yeats.
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Extra info for A Vision (The Collected Works of W. B. Yeats, Volume 14) (Revised 1937 Edition)
38. WILLIAMS, Culture and Society, p. 285. 39. The Prose Works of William Wordsworth, ed. B. Owen and Jane Worthington Smyser (Oxford, 1974), vol. 3, p. 139. 40. WILLIAMS, Culture and Society, pp. 280-1. 39 Romanticism 41. DE MAN, The Rhetoric of Romanticism, p. 85. See pp. 83-92 and, for discussion of de Man's own language and claims, NEIL HERTZ, 'More Lurid Figures', Diacritics, 20 (Fall 1990). On the received idea of literature as external to philosophy, and on the origin of modern literary theory in Romanticism, see LACOUE-LABARTHE and NANCY, The Literary Absolute, especially pp.
De Man's reading implies another way of interpreting the association of these themes: as a critique of the notion of historical progress and of the very assumption of a natural progression from nature to history. Wordsworth's poem associates the domination of 'history' with historical domination. The poem positions these as narrative themes and contents of a fundamentally different order of time or history, one of radical discontinuities and a negativity in all 'identities' that is the pOSSibility of the future or of historical change.
Idem. 43. WILLIAMS, Culture and Society, p. 42. 44. See DE MAN, 'Kant and Schiller', in Aesthetic Ideology, ed. Andrzej Warminski (Minneapolis: University of Minnesota Press, 1993); CHRISTOPHER NORRIS, Paul de Man: Deconstruction and the Critique of Aesthetic Ideology (Routledge: London, 1988); MARC REDFIELD, 'Humanizing de Man' (review of Norris) Diacritics, 19, 2 (Spring 1989): 35-53, and 'De Man, Schiller, and the Politics of Reception', Diacritics, 20, 3 (Summer 1990): 50-70; and PHILIPPE LACOUE-LABARTHE, 'H6lderlin and the Greeks', Typographies: Mimesis, Philosophy, Politics (Cambridge: Harvard University Press, 1989).