Edinburgh Companion to W. B. Yeats and the Arts

Charles I. Armstrong is Professor of English Literature at the University of Agder. He is the author of three monographs, including Reframing Yeats: Genre, Allusion and History (2013). He is currently the president of the International Yeats Society and academic co-director of the Yeats International Summer School. Adrian Paterson is Lecturer in English at the University of Galway. Curator of the multimedia exhibition Yeats & the West and a director at the Yeats Thoor Ballylee Society, he is President of Modernist Studies Ireland, co-editor of two E-rea special issues on modernism, and publishes widely on literature, music, art and technology from the eighteenth century to the present. Tom Walker is an Associate Professor in Irish Writing at Trinity College Dublin. His publications on various aspects of Irish writing and modern poetry include Louis MacNeice and the Irish Poetry of his Time (2015), which was awarded the Robert Rhodes Prize for Literature by the American Conference for Irish Studies.

• List of IllustrationsAcknowledgementsAbbreviationsIntroduction, Charles I. Armstrong, Adrian Paterson and Tom WalkerPart I: Contexts and Concepts1. Yeats, William Morris and the Aesthetics of the Everyday, Lucy Hartley and John Whittier-Ferguson2. Yeats and The Savoy: French Decadence and Irish Poetry, Matthew Creasy3. The Institutionalisation of Art in Dublin: Yeats, Sociability and Transnationalism, Kathryn Milligan4. The Virtual Archive of Anima Mundi, Charles I. Armstrong5. On the Scale of Art and the Aesthetics of Difficulty: Re-reading ‘Lapis Lazuli’ as Ecological Critique, Barry Shiels6. Knowing Ruskin’s Cat: Yeats and the Proper Names of the Aesthetic, Christopher Morash7. Cuchulain the Cowboy: A Tale of Yeats and the Wild West, Margaret Mills HarperPart II: Visual and Material Culture8. Yeats, Blake and the Romanticism of the Arts and Crafts Movement, Colin Trodd9. Yeats and Edwardian Languages of Art, Sophie Hatchwell10. The Wild Swans at Coole (1917, 1919), Michael Robartes and the Dancer (1921) and the Limits of Portraiture, Tom Walker11. A ‘cacophony of sardine tins’: Yeats and Modern Art, Hugh Haughton12. Yeats, Byzantine Art and Celtic Occultism, J. B. Bullen13. A Swedish Bounty: Yeats, Public Art and European Nationalisms in the Free State, Jack Quin14. Preservation and Proportion in ‘The Municipal Gallery Revisited’, Adam Hanna15. Late Yeats, Print and Symbolic Book Design: The Case of Responsibilities, David Holdeman16. Illustrating the 1935 and 1937 Cuala Press Broadsides, Angela Griffith17. Poetry, Painting and Posterity: Yeats as Example and Burden, Rui Carvalho HomemPart III: Performance and Sound18. The World that Sang and Listened: Yeats and Florence Farr’s ‘New Art’ of Verse Speaking, Isabelle Stuart19. ‘Music had driven their wits astray’: Raftery, Nietzsche and the Applied Arts, Adrian Paterson20. Yeats and Wagner: The Countess Cathleen and Other Plays, Michael McAteer21. ‘We must have a new kind of scenic art’: Yeats’s Set Design and Stagecraft, Seán Golden22. Yeats, Gender-Bending and the Art of Transvestism, Zsuzsanna Balázs23. The Dramaturgy of Movement: Choreographic Writing in The Dreaming of the Bones, Melinda Szűts24. Choreographic Collaborations: Yeats and Ninette de Valois, Megan Girdwood25. ‘Lose my words in patterns of sound’: Music in the Dance Plays for Ninette de Valois, Mark Fitzgerald26. Yeats’s Common Measure: The Later Ballads, Matthew CampbellNotes on ContributorsIndex

The brilliance of this collection is that it treats the arts – music, dance, visual, material, theatrical, and literary – exactly as Yeats himself insisted they should be treated: as intimately and profoundly interrelated.　 The volume’s innovative multimedial approach is genuinely interdisciplinary and brings together important scholars from an impressively wide range of fields.