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No. sentence
1 It's a longish poem, not in your anthology, but you can find it in The Complete Yeats, and I've given you on this handout page just a couple stanzas from it, so you have a sense of it.
2 Education is not the filling of a pail but the lighting of a fire. (William Butler Yeats, lrish poet)
3 Yeats seems to be reversing this trick in "the Fisherman," seems to be converting myth back into reality the ideal object of desire from a glimmering girl back into a trout.
4 The realization of desire for this young Yeats is something only possible in art.
5 In fact, Yeats is still writing about a solitary fisherman.
6 This is an important phase of his career, when with the help of Lady Augusta Gregory and John Synge, Yeats tries to establish an Irish national drama.
7 The Stolen Child William Butler Yeats Where dips the rocky highland Of Sleuth Wood in the lake, There lies a leafy island Where flapping herons wake The drowsy water-rats;
8 though it's dangerous to limit any artist to a particular period. You might think of Yeats in terms of the Easter rebellion in Ireland or Wordsworth around the French Revolution right?
9 That this great mind and great memory Let's see. On your handout I have Yeats on the subject of magic.
10 And this is our glory, Yeats says.
11 This is Yeats in costume, costumed as a figure from Irish myth, as an ancient bard, mad King Goll, which is the furthest thing from a modern poet.
12 this picture of Yeats as King Goll was used as an illustration for his first appearance in an English periodical a magazine of art and ideas called The Leisure Hour.
13 interestingly, strangely, make of it what you will, the man who detonated that bomb, as I understand it, had studied Yeats at school in Leeds.
14 In effect, in that middle part of the poem, Yeats collapses creation and destruction, suggesting that the same bestial energy flows through both of these ACTS.
15 Yeats seems to be insisting through Jane on the necessity of shattering experience to achieve unity of being, which Yeats imagines, again, as the union of opposites.
16 Yeats is, in fact, a far less nostalgic thinker than either Eliot or Pound, at least as I understand them.
17 There's Yeats, too. All of them are in a sense internationals.
18 In Section III below, Yeats says, "Get all the gold and silver that you can" — "provide, provide!"
19 But Yeats doesn't answer the question, does he? Well, why not?
20 When the bombs went off in London last year, I thought about Yeats and what he might have thought or written about this.
21 In a certain sense, Yeats, I think, really felt that he was King Goll.
22 Yeats begins in scorn of an audience that's unable to recognize true wisdom and great art.
23 Notice here how Yeats images what is at the core of Christ's birth.
24 Truth is something to be embodied in Yeats, embodied rather than known; embodied in the sense of lived, not merely understood but experienced.
25 Well, that's enough for today, and we will continue Yeats on Wednesday.
26 Yeats is throwing off his early work as if throwing off a kind of costume.
27 There are many other instances of this myth-making imagination that Yeats is always working with.
28 occult gives Yeats aesthetic forms for understanding individual psychology and historical event.
29 with Yeats, the very possibility of death's approach gives a new urgency and a new energy to the apprehending eye.
30 Frost is also here specifically writing against the early poetry of Yeats, which you'll read next week, poetry that finds reality exactly in "dream," and that has plenty of fairies and elves in it.