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| List of Illustrations | xi | |
| Acknowledgements | xv | |
| Introduction: Accidence and Coherence | xix | |
| Prologue: Crossways | 1 | |
| Chapter 1 | Accomplishment and Noh 1915-1916 | 5 |
| Chapter 2 | Shades and Angels 1916-1917 | 44 |
| Chapter 3 | The Sense of Happiness 1917-1919 | 94 |
| Chapter 4 | A Feeling for Revelation 1919-1920 | 140 |
| Chapter 5 | 'Weight and Measure in a Time of Dearth' 1920-1921 | 170 |
| Chapter 6 | Living in the Explosion 1922-1924 | 205 |
| Chapter 7 | Bad Writers and Bishops 1924-1925 | 254 |
| Chapter 8 | Vanity and Pride 1925-1927 | 293 |
| Chapter 9 | Striking a Match 1927-1930 | 343 |
| Chapter 10 | One Last Burial 1930-1932 | 395 |
| Chapter 11 | Struggles Towards Reality 1932-1933 | 441 |
| Chapter 12 | A New Fanaticism 1933-1934 | 466 |
| Chapter 13 | Passionate Metaphysics 1934-1935 | 496 |
| Chapter 14 | Fire and Eating 1936-1937 | 536 |
| Chapter 15 | Folly and Elegance 1937-1938 | 571 |
| Chapter 16 | Dying Like an Empire 1938-1939 | 611 |
| Epilogue: Genius and History | 653 | |
| Appendix 1 | Letter and Memorandum from the Abbey Directors to the Free State Government, Opening Negotiations for a Subsidy | 661 |
| Appendix 2 | Lionel Curtis's Account of His Meeting with WBY on 20 January 1923 | 668 |
| Abbreviations | 671 | |
| Notes | 675 | |
| Index | 769 | |
| Sources of Illustrations | 797 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Brian Boux
reviewed W.B. Yeats: A Life II: The Arch-Poet 1915-1939 on October 14, 2019 W.B. Yeats: A Life II: The Arch-Poet 1915-1939
Volume II, and here Yeats has become the grand old man, the central figure of modern Irish literature and drama. There is an enormous amount of detail about the creation and productions of the Abbey Theatre. It is very possible that might be way too much for many readers.
But through it all, and through all of the messiness of the Irish revolution and Civil War, the poems kept coming. Yes, as Foster shows us, many of them are tied to the moments in history, or Yeats' adventures in the occult, and become clearer once all that is explained by the biographer. But the poems still have their connections to readers -- does "The Second Coming," for instance need to be explained? No, but the explanations offer another dimension.
And then there is the inevitable decline of old age. Yeats kept working very close to the dark, much closer than most poets. He clearly had some ideal image of "the poem." He kept looking for it right up to the end.
There was a real joy in reading these two volumes, all the hundreds and hundreds of pages in them.
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