Top Irish Collections

Top Irish Collections

Book 1
谷月社
1
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OLD AGE

From the 'Deserted Village'

In all my wanderings round this world of care,

In all my griefs—and God has given my share—

I still had hopes my later hours to crown,

Amidst these humble bowers to lay me down;

To husband out life's taper at the close

And keep the flame from wasting by repose;

I still had hopes, for pride attends us still,

Amidst the swains to show my book-learned skill,

Around my fire an evening group to draw,

And tell of all I felt, and all I saw;

And, as a hare whom hounds and horns pursue,

Pants to the place from whence at first he flew,

I still had hopes, my long vexations past,

Here to return—and die at home at last.

Oliver Goldsmith
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About the author

William Butler Yeats (13 June 1865 – 28 January 1939) was an Irish poet and one of the foremost figures of 20th-century literature. A pillar of both the Irish and British literary establishments, in his later years he served as an Irish Senator for two terms. Yeats was a driving force behind the Irish Literary Revival and, along with Lady Gregory, Edward Martyn, and others, founded the Abbey Theatre, where he served as its chief during its early years. In 1923, he was awarded the Nobel Prize in Literature as the first Irishman so honoured for what the Nobel Committee described as "inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation." Yeats is generally considered one of the few writers who completed their greatest works after being awarded the Nobel Prize; such works include The Tower (1928) and The Winding Stair and Other Poems (1929).

Yeats was a very good friend of American expatriate poet and Bollingen Prize laureate Ezra Pound.

Yeats wrote the introduction for Rabindranath Tagore's Gitanjali, which was published by the India Society.

William Butler Yeats was born in Sandymount, Ireland and educated there and in London; he spent his childhood holidays in County Sligo. He studied poetry in his youth and from an early age was fascinated by both Irish legends and the occult. Those topics feature in the first phase of his work, which lasted roughly until the turn of the 20th century. His earliest volume of verse was published in 1889, and its slow-paced and lyrical poems display Yeats's debts to Edmund Spenser, Percy Bysshe Shelley, and the poets of the Pre-Raphaelite Brotherhood. From 1900, Yeats's poetry grew more physical and realistic. He largely renounced the transcendental beliefs of his youth, though he remained preoccupied with physical and spiritual masks, as well as with cyclical theories of life.

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Additional Information

Publisher
谷月社
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Published on
Jan 11, 2016
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Pages
256
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Language
English
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Genres
Literary Collections / General
Poetry / General
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Content Protection
This content is DRM protected.
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INTRODUCTION.

Dr. Corbett, Bishop of Oxford and Norwich, lamented long ago the departure of the English fairies. "In Queen Mary's time" he wrote—


"When Tom came home from labour, Or Cis to milking rose, Then merrily, merrily went their tabor, And merrily went their toes."

But now, in the times of James, they had all gone, for "they were of the old profession," and "their songs were Ave Maries." In Ireland they are still extant, giving gifts to the kindly, and plaguing the surly. "Have you ever seen a fairy or such like?" I asked an old man in County Sligo. "Amn't I annoyed with them," was the answer. "Do the fishermen along here know anything of the mermaids?" I asked a woman of a village in County Dublin. "Indeed, they don't like to see them at all," she answered, "for they always bring bad weather." "Here is a man who believes in ghosts," said a foreign sea-captain, pointing to a pilot of my acquaintance. "In every house over there," said the pilot, pointing to his native village of Rosses, "there are several." Certainly that now old and much respected dogmatist, the Spirit of the Age, has in no manner made his voice heard down there. In a little while, for he has gotten a consumptive appearance of late, he will be covered over decently in his grave, and another will grow, old and much respected, in his place, and never be heard of down there, and after him another and another and another. Indeed, it is a question whether any of these personages will ever be heard of outside the newspaper offices and lecture-rooms and drawing-rooms and eel-pie houses of the cities, or if the Spirit of the Age is at any time more than a froth. At any rate, whole troops of their like will not change the Celt much. Giraldus Cambrensis found the people of the western islands a trifle paganish. "How many gods are there?" asked a priest, a little while ago, of a man from the Island of Innistor. "There is one on Innistor; but this seems a big place," said the man, and the priest held up his hands in horror, as Giraldus had, just seven centuries before.


I.

At the end of the eighties my father and mother, my brother and sisters and myself, all newly arrived from Dublin, were settled in Bedford Park in a red-brick house with several wood mantlepieces copied from marble mantlepieces by the brothers Adam, a balcony, and a little garden shadowed by a great horse-chestnut tree. Years before we had lived there, when the crooked, ostentatiously picturesque streets, with great trees casting great shadows, had been anew enthusiasm: the Pre-Raphaelite movement at last affecting life. But now exaggerated criticism had taken the place of enthusiasm; the tiled roofs, the first in modern London, were said to leak, which they did not, and the drains to be bad, though that was no longer true; and I imagine that houses were cheap. I remember feeling disappointed because the co-operative stores, with their little seventeenth century panes, were so like any common shop; and because the public house, called 'The Tabard' after Chaucer's Inn, was so plainly a common public house; and because the great sign of a trumpeter designed by Rooke, the Pre-Raphaelite artist, had been freshened by some inferior hand. The big red-brick church had never pleased me, and I was accustomed, when I saw the wooden balustrade that ran along the slanting edge of the roof, where nobody ever walked or could walk, to remember the opinion of some architect friend of my father's, that it had been put there to keep the birds from falling off. Still, however, it had some village characters and helped us to feel not wholly lost in the metropolis. I no longer went to church as a regular habit, but go I sometimes did, for one Sunday morning I saw these words painted on a board in the porch: 'The congregation are requested to kneel during prayers; the kneelers are afterwards to be hung upon pegs provided for the purpose.' In front of every seat hung a little cushion, and these cushions were called 'kneelers.' Presently the joke ran through the community, where there were many artists, who considered religion at best an unimportant accessory to good architecture and who disliked that particular church.

This is the seventh volume of a new series of publications by Delphi Classics, the best-selling publisher of classical works. Many poetry collections are often poorly formatted and difficult to read on eReaders. The Delphi Poets Series offers readers the works of literature's finest poets, with superior formatting. This volume presents the poetical works and plays of W. B. Yeats, with illustrations and the usual Delphi bonus material. (Version: 1)

* Beautifully illustrated with images relating to Yeats' life and works
* Concise introductions to the poetry and other works
* Ten poetry collections – the most poems possible due to US copyright restrictions
* Images of how the poetry books were first printed, giving your eReader a taste of the original texts
* Excellent formatting of the poems and plays
* Special chronological and alphabetical contents tables for the poetry
* Easily locate the poems you want to read
* 19 plays, including rare dramas appearing for the first time in digital print
* Features two autobiographies - discover Yeats' literary life
* Scholarly ordering of texts into chronological order and literary genres

Please note: to comply with US copyright restrictions, poetry collections, plays and autobiographical works published after 1922 cannot appear in this volume. Once these later works enter the US public domain, they will be added as a free update to the eBook.

Please visit www.delphiclassics.com to browse through our range of exciting titles

CONTENTS

The Poetry Collections
THE WANDERINGS OF OISIN AND OTHER POEMS
THE COUNTESS KATHLEEN AND VARIOUS LEGENDS AND LYRICS
THE WIND AMONG THE REEDS
Poems from THE SHADOWY WATERS
TWO NARRATIVE POEMS
IN THE SEVEN WOODS
THE GREEN HELMET AND OTHER POEMS
RESPONSIBILITIES
THE WILD SWANS AT COOLE
MICHAEL ROBARTES AND THE DANCER

The Poems
LIST OF POEMS IN CHRONOLOGICAL ORDER
LIST OF POEMS IN ALPHABETICAL ORDER

The Plays
THE COUNTESS CATHLEEN
THE LAND OF HEART’S DESIRE
DIARMUID AND GRANIA
WHERE THERE IS NOTHING
CATHLEEN NI HOULIHAN
THE HOUR-GLASS
THE POT OF BROTH
THE KING’S THRESHOLD
ON BAILE’S STRAND
DEIRDRE
THE UNICORN FROM THE STARS
THE GREEN HELMET
THE SHADOWY WATERS
THE HOUR-GLASS (VERSE VERSION)
AT THE HAWK’S WELL
THE DREAMING OF THE BONES
THE ONLY JEALOUSY OF EMER
CALVARY
THE PLAYER QUEEN

The Autobiographies
REVERIES OVER CHILDHOOD AND YOUTH
THE TREMBLING OF THE VEIL
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