EPILOGUE
My Dear “Maurice”—I was often in France before you were born or when you were but a little child. When I went for the first or second time Mallarmé had just written: “All our age is full of the trembling of the veil of the temple.” One met everywhere young men of letters who talked of magic. A distinguished English man of letters asked me to call with him on Stanislas de Gaeta because he did not dare go alone to that mysterious house. I met from time to time with the German poet Doukenday, a grave Swede whom I only discovered after years to have been Strindberg, then looking for the philosopher’s stone in a lodging near the Luxembourg; and one day in the chambers of Stuart Merrill the poet, I spoke with a young Arabic scholar who displayed a large, roughly-made gold ring which had grown to the shape of his finger. Its gold had no hardening alloy, he said, because it was made by his master, a Jewish Rabbi, of alchemical gold. My critical mind—was it friend or enemy?—mocked, and yet I was delighted. Paris was as legendary as Connaught. This new pride, that of the adept, was added to the pride of the artist. Villiers de L’Isle Adam, the haughtiest of men, had but lately died. I had read his Axel slowly and laboriously as one reads a sacred book—my French was very bad—and had applauded it upon the stage. As I could not follow the spoken words, I was not bored even where Axel and the Commander discussed philosophy for a half-hour instead of beginning their duel. If I felt impatient it was only that they delayed the coming of the adept Janus, for I hoped to recognise the moment when Axel cries: “I know that lamp, it was burning before Solomon”; or that other when he cries: “As for living, our servants will do that for us.”
The movement of letters had been haughty even before Magic had touched it. Rimbaud had sung: “Am I an old maid that I should fear the embrace of death?” And everywhere in Paris and in London young men boasted of the garret, and claimed to have no need of what the crowd values.
Last summer you, who were at the age I was when first I heard of Mallarmé and of Verlaine, spoke much of the French poets young men and women read to-day. Claudel I already somewhat knew, but you read to me for the first time from Jammes a dialogue between a poet and a bird, that made us cry, and a whole volume of Peguy’s Mystère de la Charité de Jeanne d’Arc. Nothing remained the same but the preoccupation with religion, for these poets submitted everything to the Pope, and all, even Claudel, a proud oratorical man, affirmed that they saw the world with the eyes of vine-dressers and charcoal-burners. It was no longer the soul, self-moving and self-teaching—the magical soul—but Mother France and Mother Church.
Have not my thoughts run through a like round, though I have not found my tradition in the Catholic Church, which was not the church of my childhood, but where the tradition is, as I believe, more universal and more ancient?
W. B. Y.
May 11, 1917.
Printed in the United States of America.
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Responsibilities
By WILLIAM BUTLER YEATS
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“William Butler Yeats is by far the biggest poetic personality living among us at present. He is great both as a lyric and dramatist poet.”
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The Cutting of an Agate
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The initial piece in this volume is a deliciously conceived heroic farce, quaint in humor and sprightly in action. It tells of the difficulty in which two simple Irish folk find themselves when they enter into an agreement with an apparition of the sea, who demands that they knock off his head and who maintains that after they have done that he will knock off theirs. There is a real meaning in the play which it will not take the thoughtful reader long to discover. Besides this there are a number of shorter poems, notably one in which Mr. Yeats answers the critics of “The Playboy of the Western World.”
Lyrical and Dramatic Poems
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Reveries Over Childhood and Youth
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The Hour Glass and Other Plays
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“The Hour Glass” is one of Mr. Yeats’ noble and effective plays, and with the other plays in the volume, make a small, but none the less representative collection.
Stories of Red Hanrahan
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These tales belong to the realm of pure lyrical expression. They are mysterious and shadowy, full of infinite subtleties and old wisdom of folklore, and sad with the gray wistful Celtic sadness.
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Ideas of Good and Evil
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Essays on art and life, wherein are set forth much of Yeats’ philosophy, his love of beauty, his hope for Ireland and for Irish artistic achievement.
The Celtic Twilight
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A collection of tales from Irish life and of Irish fancy, retold from peasants’ stories with no additions except an occasional comment.
THE WORKS OF RABINDRANATH TAGORE
BOLPUR EDITION
HUNGRY STONES AND OTHER STORIES.
FRUIT GATHERING.
CHITRA: A Play in one act.
THE CRESCENT MOON: Child Poems.
THE GARDENER: Love Poems.
GITANJALI: Religious Poems.
THE KING OF THE DARK CHAMBER: A Play.
THE SONGS OF KABIR.
SADHANA: The Realization of Life.
THE POST OFFICE: A Play.
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Footnotes:
[1] Translated by Arthur Symons from San Juan de la Cruz.
[2] I have no better authority for Caesarea than Landor’s play.
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