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Table of Contents
About The Book
Since its first appearance in 1962, M. L. Rosenthal's classic selection of Yeats's poems and plays has attracted hundreds of thousands of readers. This newly revised edition includes 211 poems and 4 plays. It adds The Words Upon the Window-Pane, one of Yeats's most startling dramatic works in its realistic use of a seance as the setting for an eerily powerful reenactment of Jonathan Swift's rigorous idealism, baffling love relationships, and tragic madness. The collection profits from recent scholarship that has helped to establish Yeats's most reliable texts, in the order set by the poet himself. And his powerful lyrical sequences are amply represented, culminating in the selection from Last Poems and Two Plays, which reaches its climax in the brilliant poetic plays The Death of Cuchulain and Purgatory.
Scholars, students, and all who delight in Yeats's varied music and sheer quality will rejoice in this expanded edition. As the introduction observes, "Early and late he has the simple, indispensable gift of enchanting the ear....He was also the poet who, while very much of his own day in Ireland, spoke best to the people of all countries. And though he plunged deep into arcane studies, his themes are most clearly the general ones of life and death, love and hate, man's condition, and history's meanings. He began as a sometimes effete post-Romantic, heir to the pre-Raphaelites, and then, quite naturally, became a leading British Symbolist; but he grew at last into the boldest, most vigorous voice of this century." Selected Poems and Four Plays represents the essential achievement of the greatest twentieth-century poet to write in English.
Scholars, students, and all who delight in Yeats's varied music and sheer quality will rejoice in this expanded edition. As the introduction observes, "Early and late he has the simple, indispensable gift of enchanting the ear....He was also the poet who, while very much of his own day in Ireland, spoke best to the people of all countries. And though he plunged deep into arcane studies, his themes are most clearly the general ones of life and death, love and hate, man's condition, and history's meanings. He began as a sometimes effete post-Romantic, heir to the pre-Raphaelites, and then, quite naturally, became a leading British Symbolist; but he grew at last into the boldest, most vigorous voice of this century." Selected Poems and Four Plays represents the essential achievement of the greatest twentieth-century poet to write in English.
Excerpt
Chapter 1
from Crossways
(1889)
THE CLOAK, THE BOAT, AND THE SHOES
'What do you make so fair and bright?'
'I make the cloak of Sorrow:
O lovely to see in all men's sight
Shall be the cloak of Sorrow,
In all men's sight.'
'What do you build with sails for flight?'
'I build a boat for Sorrow:
O swift on the seas all day and night
Saileth the rover Sorrow,
All day and night.'
'What do you weave with wool so white?'
'I weave the shoes of Sorrow:
Soundless shall be the footfall light
In all men's ears of Sorrow,
Sudden and light.'
(1885)
EPHEMERA
'Your eyes that once were never weary of mine
Are bowed in sorrow under pendulous lids,
Because our love is waning.'
And then she: 'Although our love is waning, let us stand
By the lone border of the lake once more,
Together in that hour of gentleness
When the poor tired child, Passion, falls asleep:
How far away the stars seem, and how far
Is our first kiss, and ah, how old my heart!'
Pensive they paced along the faded leaves,
While slowly he whose hand held hers replied:
'Passion has often worn our wandering hearts.'
The woods were round them, and the yellow leaves
Fell like faint meteors in the gloom, and once
A rabbit old and lame limped down the path;
Autumn was over him: and now they stood
On the lone border of the lake once more:
Turning, he saw that she had thrust dead leaves
Gathered in silence, dewy as her eyes,
In bosom and hair.
'Ah, do not mourn,' he said,
'That we are tired, for other loves await us;
Hate on and love through unrepining hours.
Before us lies eternity; our souls
Are love, and a continual farewell.'
(1889)
THE STOLEN CHILD
Where dips the rocky highland
Of Sleuth Wood in the lake,
There lies a leafy island
Where flapping herons wake
The drowsy water-rats;
There we've hid our faery vats,
Full of berries
And of reddest stolen cherries.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you
can understand.
Where the wave of moonlight glosses
The dim grey sands with light,
Far off by furthest Rosses
We foot it all the night,
Weaving olden dances,
Mingling hands and mingling glances
Till the moon has taken flight;
To and fro we leap
And chase the frothy bubbles,
While the world is full of troubles
And is anxious in its sleep.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you
can understand.
Where the wandering water gushes
From the hills above Glen-Car,
In pools among the rushes
That scarce could bathe a star,
We seek for slumbering trout
And whispering in their ears
Give them unquiet dreams;
Leaning softly out
From ferns that drop their tears
Over the young streams.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you
can understand.
Away with us he's going,
The solemn-eyed:
He'll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast,
Or see the brown mice bob
Round and round the oatmeal-chest.
For he comes, the human child,
To the waters and the wild
With a faery, hand in hand,
From a world more full of weeping than he can
understand.
(1886)
TO AN ISLE IN THE WATER
Shy one, shy one,
Shy one of my heart,
She moves in the firelight
Pensively apart.
She carries in the dishes,
And lays them in a row.
To an isle in the water
With her would I go.
She carries in the candles,
And lights the curtained room,
Shy in the doorway
And shy in the gloom;
And shy as a rabbit,
Helpful and shy.
To an isle in the water
With her would I fly.
(1889)
DOWN BY THE SALLEY GARDENS
Down by the salley gardens my love and I did meet;
She passed the salley gardens with little snow-white feet.
She bid me take love easy, as the leaves grow on the tree;
But I, being young and foolish, with her would not agree.
In a field by the river my love and I did stand,
And on my leaning shoulder she laid her snow-white hand.
She bid me take life easy, as the grass grows on the weirs;
But I was young and foolish, and now am full of tears.
(1889)
Foreword and introduction copyright © 1996 by M. L. Rosenthal
from Crossways
(1889)
THE CLOAK, THE BOAT, AND THE SHOES
'What do you make so fair and bright?'
'I make the cloak of Sorrow:
O lovely to see in all men's sight
Shall be the cloak of Sorrow,
In all men's sight.'
'What do you build with sails for flight?'
'I build a boat for Sorrow:
O swift on the seas all day and night
Saileth the rover Sorrow,
All day and night.'
'What do you weave with wool so white?'
'I weave the shoes of Sorrow:
Soundless shall be the footfall light
In all men's ears of Sorrow,
Sudden and light.'
(1885)
EPHEMERA
'Your eyes that once were never weary of mine
Are bowed in sorrow under pendulous lids,
Because our love is waning.'
And then she: 'Although our love is waning, let us stand
By the lone border of the lake once more,
Together in that hour of gentleness
When the poor tired child, Passion, falls asleep:
How far away the stars seem, and how far
Is our first kiss, and ah, how old my heart!'
Pensive they paced along the faded leaves,
While slowly he whose hand held hers replied:
'Passion has often worn our wandering hearts.'
The woods were round them, and the yellow leaves
Fell like faint meteors in the gloom, and once
A rabbit old and lame limped down the path;
Autumn was over him: and now they stood
On the lone border of the lake once more:
Turning, he saw that she had thrust dead leaves
Gathered in silence, dewy as her eyes,
In bosom and hair.
'Ah, do not mourn,' he said,
'That we are tired, for other loves await us;
Hate on and love through unrepining hours.
Before us lies eternity; our souls
Are love, and a continual farewell.'
(1889)
THE STOLEN CHILD
Where dips the rocky highland
Of Sleuth Wood in the lake,
There lies a leafy island
Where flapping herons wake
The drowsy water-rats;
There we've hid our faery vats,
Full of berries
And of reddest stolen cherries.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you
can understand.
Where the wave of moonlight glosses
The dim grey sands with light,
Far off by furthest Rosses
We foot it all the night,
Weaving olden dances,
Mingling hands and mingling glances
Till the moon has taken flight;
To and fro we leap
And chase the frothy bubbles,
While the world is full of troubles
And is anxious in its sleep.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you
can understand.
Where the wandering water gushes
From the hills above Glen-Car,
In pools among the rushes
That scarce could bathe a star,
We seek for slumbering trout
And whispering in their ears
Give them unquiet dreams;
Leaning softly out
From ferns that drop their tears
Over the young streams.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you
can understand.
Away with us he's going,
The solemn-eyed:
He'll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast,
Or see the brown mice bob
Round and round the oatmeal-chest.
For he comes, the human child,
To the waters and the wild
With a faery, hand in hand,
From a world more full of weeping than he can
understand.
(1886)
TO AN ISLE IN THE WATER
Shy one, shy one,
Shy one of my heart,
She moves in the firelight
Pensively apart.
She carries in the dishes,
And lays them in a row.
To an isle in the water
With her would I go.
She carries in the candles,
And lights the curtained room,
Shy in the doorway
And shy in the gloom;
And shy as a rabbit,
Helpful and shy.
To an isle in the water
With her would I fly.
(1889)
DOWN BY THE SALLEY GARDENS
Down by the salley gardens my love and I did meet;
She passed the salley gardens with little snow-white feet.
She bid me take love easy, as the leaves grow on the tree;
But I, being young and foolish, with her would not agree.
In a field by the river my love and I did stand,
And on my leaning shoulder she laid her snow-white hand.
She bid me take life easy, as the grass grows on the weirs;
But I was young and foolish, and now am full of tears.
(1889)
Foreword and introduction copyright © 1996 by M. L. Rosenthal
About The Author
na
William Butler Yeats is generally considered to be Ireland’s greatest poet, living or dead, and one of the most important literary figures of the twentieth century. He was awarded the Nobel Prize in Literature in 1923.
Product Details
- Publisher: Scribner (November 8, 2011)
- Length: 320 pages
- ISBN13: 9781451673753
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