By W. B. Yeats
A brand new annotated version of Yeats’s imperative, lifelong paintings of philosophy—a meditation at the connections among the mind's eye, heritage, and the metaphysical—this quantity finds the poet’s maximum techniques at the occult.
First released in 1925, after which considerably revised via the writer in 1937, A Vision is a special paintings of literary modernism, and revelatory advisor to Yeats’s personal poetry and pondering. fundamental to an knowing of the poet’s overdue paintings, and entrancing by itself advantage, the booklet offers the “system” of philosophy, psychology, historical past, and the lifetime of the soul that Yeats and his spouse, George, obtained and created via mediumistic experiments from 1917 during the early Nineteen Twenties. Yeats obsessively revised the unique publication that he wrote in 1925, and the 1937 model is the definitive model of what Yeats desired to say.
Now, awarded in a scholarly variation for the 1st time by means of Yeats students Catherine E. Paul and Margaret turbines Harper, the 1937 model of A Vision is a vital, crucial literary source and essential for all critical readers of Yeats.
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Additional resources for A Vision (The Collected Works of W. B. Yeats, Volume 14) (Revised 1937 Edition)
To that end, “Christine’s” silence is “appropriate,” because it shows she is paying Lady Justice her full attention. ” One last student I will quote here scolds me a bit: “Just because the tone changes does not mean that the work loses its merit. ” At the end of The Book of the City of Ladies, just as we might have despaired of hearing the voice of “Christine” again, Lady Justice draws her monologue to an end. ” In this moment, the voice of “Christine” is heard again, this time thanking the three women for their help.
Such barriers could seem insurmountable. Both Pizan and Woolf begin their defenses of women with their first-person narrators brought to the brink of despair, heads bowed in shame. The remedies they devise—a city of ladies and a room of one’s own—symbolize the conditions that must be met in order for women to overcome the handicaps they face. Pizan’s city and Woolf ’s room are intended as metaphors—but what metaphors they are. At the turn of the fifteenth century, Christine de Pizan imagined a great city built by women for women, a place where, in the company of other women, every citizen of the city would find herself supported and appreciated.
They do. But they don’t want to make the same distinction between “Christine” the character and Christine de Pizan the writer. I suspect my students understand perfectly well the difference between “Christine” and Christine, but they don’t want to. Maybe the resistance to accepting “Christine” as a fiction and “Mary Beton” as the first-person narrator of A Room of One’s Own is really a testament to our emotional identification with these books. I am pretty sure I overwhelm my students when I tell them how finding The Book of the City of Ladies changed my life.
A Vision (The Collected Works of W. B. Yeats, Volume 14) (Revised 1937 Edition) by W. B. Yeats