Skip to main content Accessibility help
Hostname: page-component-848d4c4894-wg55d Total loading time: 0 Render date: 2024-05-21T08:29:55.889Z Has data issue: false hasContentIssue false


Published online by Cambridge University Press:  09 July 2021

Christopher Morash
Trinity College Dublin
Get access


Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Yeats on Theatre , pp. 231 - 242
Publisher: Cambridge University Press
Print publication year: 2021

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)


Adams, Hazard. The Book of Yeats’s Vision: Romantic Modern and Antithetical Tradition. Ann Arbor: University of Michigan Press, 1995.CrossRefGoogle Scholar
Adorno, Theodor W. Minima Moralia: Reflections from Damaged Life. Trans. Jephcott, E. F. N.. London: Verso, 2005.Google Scholar
Allen, Nicholas. Modernism, Ireland and Civil War. Cambridge: Cambridge University Press, 2009.Google Scholar
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism, rev. ed. London: Verso, 1991.Google Scholar
Aristotle. Politics and Poetics. Trans. Jowett, Benjamin and Twining, Thomas. New York: Viking, 1974.Google Scholar
Arkins, Brian. Builders of My Soul: Greek and Roman Themes in Yeats. Gerrards Cross: Colin Smythe, 1990.Google Scholar
Arrington, Lauren. W. B. Yeats, the Abbey Theatre, Censorship, and the Irish State: Adding the Half-Pence to the Pence. Oxford: Oxford University Press, 2010.Google Scholar
Artaud, Antonin. Artaud on Theatre. Ed. Schumacher, Claude and Singleton, Brian. London: Methuen, 1989.Google Scholar
Artaud, Antonin. Selected Writings. Ed. Sontag, Susan, trans. Weaver, Helen. Berkeley: University of California Press, 1988.Google Scholar
Artaud, Antonin. Theatre and Its Double. Trans. Richard, Mary Caroline. New York: Grove Weidenfeld, 1958.Google Scholar
Badiou, Alain Being and Event II: The Logic of Worlds. Trans. Toscano, Alberto. London: Bloomsbury, 2019.Google Scholar
Badiou, Alain. Rhapsody for the Theatre: A Short Philosophical Treatise. Theatre Survey 49:2 (2008), 187238.CrossRefGoogle Scholar
Badiou, Alain with Truong, Nicholas. In Praise of Theatre. Trans. Bielski, Andrew. London: Polity, 2015.Google Scholar
Balázs, Zsuzsanna. The Dramaturgy of Embeddings: Übermarionettes in W. B. Yeats’s and Luigi Pirandello’s Meta-Theatres. Australian Journal of Irish Studies 17 (2017), 2345.Google Scholar
Balázs, Zsuzsanna. An Uncanny Myth of Ireland: The Spectralisation of Cuchulain’s Body in W. B. Yeats’s Plays. Études irlandaises 42:1 (2017), 6175.CrossRefGoogle Scholar
Barthes, Roland. Critical Essays. Ed. and trans. Howard, Richard. Evanston, IL: Northwestern University Press, 1972.Google Scholar
Beckett, Samuel. The Letters of Samuel Beckett: Volume 1: 1929–1940. Ed. Fehsenfeld, Martha Dow and Overbeck, Lois More. Cambridge: Cambridge University Press, 2009.Google Scholar
Beltaine: The Organ of the Irish Literary Theatre: Number One to Number Three, May 1899 – April 1900. Intro. B.C. Bloomfield. Frank Cass Library of English Little Magazines. London: Frank Cass, 1970.Google Scholar
Bergson, Henri. Laughter. Trans. Brereton, Cloudesley and Rothwell, Fred. London: Macmillan, 1911.Google Scholar
Bergson, Henri. Matter and Memory. Trans. Paul, Nancy Margaret and Palmer, W. Scott. London: Allen & Unwin, 1919.Google Scholar
Blake, William. The Prophetic Books of William Blake: Jerusalem. Ed. Maclagan, E. R. D. and Russell, A. G. B.. London: A. H. Bullen, 1904.Google Scholar
Bradford, Curtis. W. B. Yeats: The Writing of the Player Queen. DeKalb, IL: Northern Illinois University Press, 1977.Google Scholar
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Ed. and trans. Willett, John. New York: Hill and Wang, 1957.Google Scholar
Brook, Peter. The Empty Space. Harmondsworth: Penguin, 1968.Google Scholar
Brown, Terence. The Life of W. B. Yeats: A Critical Biography. Dublin: Gill and Macmillan, 1999.Google Scholar
Carruthers, Ian. A Translation of Fifteen Pages of Itō Michio’s Autobiography, ‘Utsukushiku naru kyôshitsu.’ Canadian Journal of Irish Studies 2:1 (1976), 3243.Google Scholar
Cave, Richard Allen. Collaborations: Ninette de Valois and W. B. Yeats. Binsted, Hampshire: Dance Books, 2011.Google Scholar
Cave, Richard Allen. Notes for Further Research: A Stage Setting by W. B. Yeats. Canadian Journal of Irish Studies 32:2 (2006), 54–7.Google Scholar
Cave, Richard Allen. Staging The King’s Threshold. Yeats Annual 13 (1998), 158–77.CrossRefGoogle Scholar
Chapman, Wayne K. Yeats’s ‘Theatre of Beauty’ and the Masque Tradition. Yeats: An Annual of Critical and Textual Studies 7 (1989), 4256.Google Scholar
Chapman, Wayne K. Yeats’s White Vellum Notebook, 1930–1933. International Yeats Studies 2:2 (2018), Article 4, 4059.CrossRefGoogle Scholar
Chaudhry, Yug Mohit. Yeats, the Irish Literary Revival and the Politics of Print. Cork: Cork University Press, 2001.Google Scholar
Clark, David R., with Clark, Rosalind. W. B. Yeats and the Theatre of Desolate Reality. Washington, DC: Catholic University Press of America, 1993.Google Scholar
Clyde, Tom. Irish Literary Magazines: An Outline History and Descriptive Bibliography. Dublin: Irish Academic Press, 2003.Google Scholar
Craig, Edward Gordon. The Actor and the Über-Marionette. The Mask: The Journal of the Art of the Theatre 1:1 (1908), 315.Google Scholar
Craig, Edward Gordon. After the Practice the Theory. The Mask: The Journal of the Art of the Theatre 1:1 (1908), 2.Google Scholar
Craig, Edward Gordon. The Artists of the Theatre of the Future. The Mask: The Journal of the Art of the Theatre 1:3/4 (1908), 5770.Google Scholar
Craig, Edward Gordon. Editorial. The Mask: The Journal of the Art of the Theatre 1:1 (1908), 24.Google Scholar
Craig, Edward Gordon. On the Art of the Theatre. London: Heinemann, 1912.Google Scholar
Craig, Edward Gordon [attrib.]. Review of Lafcadio Hearn in Japan by Yone Noguchi. The Mask: The Journal of the Art of the Theatre 4:1 (1911), 53.Google Scholar
Craig, Edward Gordon. Scene. London: H. Milford, Oxford University Press, 1923.Google Scholar
Cumberland, Richard. Memoirs of Richard Cumberland, vol. II. London: Lackington, Allen & Co., 1807.Google Scholar
Cumont, Francis. Astrology and Religion among the Greeks and Romans. New York and London: G. P. Putnams, 1912.Google Scholar
Darracott, Joseph. The World of Charles Ricketts. New York: Methuen, 1980.Google Scholar
de Beistegui, Miguel. The Deleuzian Reversal of Platonism. In The Cambridge Companion to Deleuze, ed. Smith, Daniel W. and Somers-Hall, Henry. Cambridge: Cambridge University Press, 2012, 5581.CrossRefGoogle Scholar
Deak, Frantisek. Symbolist Theatre: The Formation of an Avant-Garde. London: Johns Hopkins University Press, 1993.Google Scholar
Dean, Julian Breandán. The ‘Supernatural Artist’ and the Tarot Fool: Transnational Esotericism in W. B. Yeats’s On Baile’s Strand. Modern Drama 63:1 (Spring 2020), 120.CrossRefGoogle Scholar
Deleuze, Gilles. Bergsonism. Trans. Tomlinson, Hugh. New York: Zone, 1991.Google Scholar
Deleuze, Gilles. Nietzsche and Philosophy. Trans. Tomlinson, Hugh. New York: Columbia, 1983.Google Scholar
Derrida, Jacques. Of Grammatology. Trans. Chakravorty Spivak, Gayatri. Baltimore, MD: Johns Hopkins University Press, 1976.Google Scholar
Derrida, Jacques. Speech and Phenomena: And Other Essays on Husserl’s Theory of Signs. Trans. Allison, David B. and Garver, Newton. Evanston IL: Northwestern University Press, 1973.Google Scholar
Derrida, Jacques. Writing and Difference. Trans. Bass, Alan. London: Routledge, 2008.Google Scholar
de Valois, Ninette. Step by Step: The Formation of an Establishment. London: W. H. Allen, 1977.Google Scholar
Donaldson, John William (ed.). The Theatre of the Greeks, 3rd. ed. Cambridge: J. & J. J. Deighton, 1830.Google Scholar
Donnelly, John J. Subjective Concepts of Humans. New York: International Press, 1922.Google Scholar
Dorn, Karen. Dialogue into Movement: W. B. Yeats’s Theatre Collaboration with Gordon Craig. In Yeats and Theatre, ed. O’Driscoll, Robert and Reynolds, Lorna. London: Macmillan, 1975, 109–36.Google Scholar
Dorn, Karen. Players and a Painted Stage: The Theatre of W. B. Yeats. Brighton: Harvester, 1984.Google Scholar
Dwan, David. Yeats, Heidegger and the Problem of Modern Subjectivism. Paragraph 25:1 (2002), 7491.CrossRefGoogle Scholar
Eagleton, Terry. Heathcliff and the Great Hunger: Studies in Irish Culture. London: Verso, 1995.Google Scholar
Eaves, Gregory N. The Anti-Theatre and Its Double. Yeats Annual 13 (1998), 3461.CrossRefGoogle Scholar
Eglinton, John. What Should Be the Subjects of National Drama? In Field Day Anthology of Irish Writing, vol. II. Ed. Deane, Seamus. Derry: Field Day, 1991.Google Scholar
Eliot, T. S. Selected Prose. Ed. Hayward, John. Harmondsworth: Penguin, 1953.Google Scholar
Eliot, T. S. Tradition and the Individual Talent. The Egoist 6:4, 54–5 and 6:5 (1919), 72–3.Google Scholar
Ellis, Havelock. Friedrich Nietzsche – 1. The Savoy 2 (1896), 7994.Google Scholar
Ellis, Sylvia C. The Plays of W. B. Yeats: Yeats and the Dancer. London: Macmillan, 1995.Google Scholar
Engelberg, Edward. The Vast Design: Patterns in W. B. Yeats’s Aesthetic, 2nd ed. Washington, DC: Catholic University Press, 1988.Google Scholar
Esslin, Martin. The Theatre of the Absurd, rev. ed. Harmondsworth: Pelican, 1968.Google Scholar
Fay, Gerard. The Abbey Theatre: Cradle of Genius. Dublin, Clonmore and Reynolds, 1958.Google Scholar
Fay, Frank J. Towards a National Theatre: The Dramatic Criticism of Frank J. Fay. Ed. Hogan, Robert. Dublin: Dolmen Press, 1970.Google Scholar
Fenollosa, Ernest and Pound, Ezra. Noh’ or Accomplishment: A Study of the Classical Stage of Japan. London: Macmillan, 1916.Google Scholar
Fischer-Lichte, Erika. The Semiotics of Theater. Trans. Gaines, Jeremy and Jones, Doris L.. Bloomington, IN: Indiana University Press, 1992.Google Scholar
Flannery, James W. W. B. Yeats and the Idea of a Theatre: The Early Abbey in Theory and Practice. New Haven: Yale University Press, 1976.Google Scholar
Foster, John Burt, Jr. Lidless Eyes, Stony Places, Vibrant Spectators: Nietzschean Tragedy in Yeats’s Lyric Poetry. In Nietzsche and the Rebirth of the Tragic, ed. Ann, Mary Witt, Frese. Cranbury, NY: Associated University Presses, 2007, 104–26.Google Scholar
Foster, R. F. Fascism. In Yeats in Context, ed. Holdeman, David and Levitas, Ben. Cambridge: Cambridge University Press, 2010, 213–23.Google Scholar
Foster, R. F. W. B. Yeats: A Life: Vol. I: The Apprentice Mage. Oxford: Oxford University Press, 1997.Google Scholar
Foster, R. F. W. B. Yeats: A Life: Vol. II: The Arch-Poet. Oxford: Oxford University Press, 2003.Google Scholar
Frazer, James George. The Golden Bough: A Study in Magic and Religion. The Magic Art and the Evolution of Kings, vol. I, 3rd ed. London: Macmillan, 1911.Google Scholar
Frazier, Adrian. Behind the Scenes: Yeats, Horniman and the Struggle for the Abbey Theatre. Berkeley, University of California Press, 1990.CrossRefGoogle Scholar
Friedman, Barton R. Adventures in the Deeps of the Mind: The Cuchulain Cycle of W. B. Yeats. Princeton: Princeton University Press, 1977.Google Scholar
Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton: Princeton University Press, 1957.Google Scholar
Frye, Northrop. Yeats and the Language of Symbolism. University of Toronto Quarterly 17:1 (1946), 117.CrossRefGoogle Scholar
Gale, Maggie B. and Deeney, John F. with Rebellato, Dan (eds.). The Routledge Drama Anthology and Sourcebook: From Modernism to Contemporary Performance. London: Routledge, 2010.Google Scholar
Genet, Jacqueline. Villiers de l’Isle-Adam and Yeats. In Yeats the European, ed. Jeffares, A. Norman. Gerrards Cross: Colin Smythe, 1989.Google Scholar
Gibson, Matthew. Classical Philosophy. In Yeats in Context, ed. Holdeman, David and Levitas, Ben. Cambridge: Cambridge University Press, 2010, 276–87.Google Scholar
Goodall, Jane. Artaud and the Gnostic Drama. Oxford: Clarendon, 1994.Google Scholar
Gould, Warwick. The Mask before The Mask. Yeats Annual 19 (2013), 347.Google Scholar
Grant, Alexander. Aristotle. Edinburgh: J. Blackwood, 1910.Google Scholar
Grant, Stuart. Heidegger’s Augenblick as the Moment of Performance. In Performance and Temporalisation: Time Happens, ed. Grant, Stuart, McNeilly, Jodie, and Veerapen, Maeva. London: Palgrave Macmillan, 2015, 213–29.Google Scholar
Gregory, Augusta. Lady Gregory’s Journals: Volume Two: Books Thirty to Forty-Four 21 February 1925 – 9 May 1932. Ed. Murphy, Daniel J.. Gerrards Cross: Colin Smythe, 1987.Google Scholar
Gregory, Augusta. Our Irish Theatre. Colin Smythe: Gerrards Cross, 1972.Google Scholar
Grene, Nicholas. The Abbey: National Theatre or Little Theatre? Journal of Irish Scottish Studies 1:1 (2007), 211–20.CrossRefGoogle Scholar
Grene, Nicholas. The Politics of Irish Drama: Plays in Context from Boucicault to Friel. Cambridge: Cambridge University Press, 1999.Google Scholar
Grene, Nicholas. Yeats’s Poetic Codes. Oxford: Oxford University Press, 2008.CrossRefGoogle Scholar
Grotowski, Jerzy. Towards a Poor Theatre. Ed. Barba, Eugenio. London: Bloomsbury, 1991.Google Scholar
Gwynn, Stephen. An Uncommercial Theatre. Fortnightly Review 72 (1902), 1044–54.Google Scholar
Harper, George Mills. The Mingling of Heaven and Earth: Yeats’s Theory of Theatre, Dublin: Dolmen, 1975.Google Scholar
Haswell, Janis. Resurrecting Calvary: A Reconstructive Interpretation of W. B. Yeats’s Play and Its Making. Yeats Annual 15 (2002), 159–89.Google Scholar
Heidegger, Martin. Being and Time. Trans. Macquarrie, John and Robinson, Edwards. Oxford: Blackwell, 1962.Google Scholar
Heidegger, Martin. Introduction to Metaphysics. Trans. Fried, Gregory and Polt, Richard, 2nd ed. Yale: Yale University Press, 2014.Google Scholar
Heidegger, Martin. Off the Beaten Track. Ed. and trans. Young, Julian and Haynes, Kenneth. Cambridge: Cambridge University Press, 2002.Google Scholar
Heidegger, Martin. On the Way to Language. Trans. Hertz, Peter D.. New York: Harper Collins, 1971.Google Scholar
Heidegger, Martin and Fink, Eugen. Heraclitus Seminar. Trans. Seibert, Charles H.. Evanston, Il: Northwestern University Press, 1993.Google Scholar
Hogan, Robert and Kilroy, James (eds.). The Irish Literary Theatre: 1899–1901. The Modern Irish Drama: A Documentary History I. Dublin: Dolmen, 1975.Google Scholar
Hogan, Robert and Kilroy, James (eds.). Laying the Foundations: 1902–1904. The Modern Irish Drama: A Documentary History II. Dublin: Dolmen, 1976.Google Scholar
Hone, Joseph. W. B. Yeats: 1865–1939. London: Macmillan, 1943.Google Scholar
Howes, Marjorie. Yeats’s Nations: Gender, Class and Irishness. Cambridge: Cambridge University Press, 1996.CrossRefGoogle Scholar
Husserl, Edmund. Ideas: General Introduction to Pure Phenomenology. Trans. Boyce Gibson, W. R.. London: Routledge, 2012.CrossRefGoogle Scholar
Ingelbien, Raphael. Symbolism at the Periphery: Yeats, Maeterlinck, and Cultural Nationalism. Comparative Literature 42:3 (2005), 183204.CrossRefGoogle Scholar
Jameson, Fredric. Brecht and Method. London: Verso, 1999.Google Scholar
Jaques-Dalcroze, Émile. Rhythm, Music and Education. Trans. Rubinstein, Harold F.. London: G.P. Putnam, 1921.CrossRefGoogle Scholar
Jarry, Alfred. Selected Works of Alfred Jarry. Ed. Shattuck, Roger and Watson Taylor, Simon. London: Methuen, 1965.Google Scholar
Joyce, James, and Skeffington, F. J. C.. Two Essays. A Forgotten Aspect of the University Question, by F. J. C. Skeffington; and The Day of the Rabblement, by James A. Joyce. Dublin: Gerrard Bros, 1901.Google Scholar
Kelly, John. A W. B. Yeats Chronology. London: Palgrave Macmillan, 2003.CrossRefGoogle Scholar
Kennedy, Dennis. The Spectator and the Spectacle: Audiences in Modernity and Postmodernity, Cambridge: Cambridge University Press, 2009.Google Scholar
Kiberd, Declan. Inventing Ireland: The Literature of the Modern Nation. London: Vintage, 1996.Google Scholar
Kierkegaard, Søren. Crisis in the Life of an Actress, and Other Essays on Drama. Trans. and intro. Crites, Stephen. London: Collins, 1967.Google Scholar
Kilroy, James (ed.). The ‘Playboy’ Riots. Dublin: Dolmen, 1971.Google Scholar
Klankert, Tanja. Strange Relations: Cultural Translation of Noh Theatre in Ezra Pound’s Dance Poems and W. B. Yeats’s At the Hawk’s Well. Word and Text IV:2 (December 2014), 98111.Google Scholar
Kuhn, Elizabeth. Toward an Anti-Humanism of Life: The Modernism of Nietzsche, Hulme and Yeats. In Journal of Modern Literature 34:4(2011), 119.CrossRefGoogle Scholar
Large, Duncan. Nietzsche and/in/on Translation. Journal of Nietzsche Studies 43:1 (Spring 2012), 5767.CrossRefGoogle Scholar
Lecoq, Jacques. The Moving Body. Trans. Bradby, David. London: Methuen, 2000.CrossRefGoogle Scholar
Lehmann, Hans-Thies. Postdramatic Theatre. Trans. Jürs-Munby, Karen. London: Routledge, 2006.CrossRefGoogle Scholar
Lehmann, Hans-Thies. Tragedy and Dramatic Theatre. Trans. Butler, Eric. London: Routledge, 2016.Google Scholar
Lentricchia, Frank. The Gaiety of Language: An Essay on the Radical Poetics of W. B. Yeats and Wallace Stevens. Berkeley, University of California Press, 1968.CrossRefGoogle Scholar
Levitas, Ben. Temper of Misgiving. In Uncertain Futures: Essays About the Past for Roy Foster, ed. Paseta, Senia. Oxford: Oxford University Press, 2016, 110–22.Google Scholar
Levitas, Ben. The Theatre of Nation: Irish Drama and Cultural Nationalism 1890–1916. Oxford: Oxford University Press, 2002.CrossRefGoogle Scholar
Lewis, Percy Wyndham. Time and Western Man. London: Chatto and Windus, 1927.Google Scholar
Londraville, Richard. The Dramatic Function of Yeats’s Dreaming Back. Yeats: An Annual of Critical and Textual Studies VII (1989), 99124.Google Scholar
Longuenesse, Pierre. Du Bestiaire dans le théâtre de W. B. Yeats: De l’Unheimlich à la grâce. Sillages critiques 20 (2016). Scholar
Longuenesse, Pierre. Voix de revenants dans les Pièces pour danseurs de W. B. Yeats. Études irlandaises 41:1 (2016), 167–81.Google Scholar
Longuenesse, Pierre. Yeats dramaturge: La voix et ses masques. Rennes: Presses universitaires de Rennes, 2012.Google Scholar
Longuenesse, Pierre. Yeats et le mélange des genres: du texte à la scène. Sillages critiques 18 (2014). Scholar
Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Trans. Bennington, Geoff and Massumi, Brian. Minneapolis: University of Minnesota Press, 1984.Google Scholar
Macintosh, Fiona. An Oedipus for our Times? In Performance, Iocnography, Reception: Studies in Honour of Oliver Taplin, ed. Revermann, M. and Wilson, P.. Oxford: Oxford University Press, 2008, 524–47.Google Scholar
Maeterlinck, Maurice. The Treasure of the Humble. Trans. Suto, Alfred. London: George Allen & Sons, 1911.Google Scholar
Malone, Andrew E. The Rise of the Realistic Movement. In The Irish Theatre: Lectures Delivered During the Abbey Theatre Festival Held in Dublin in August 1938, ed. Robinson, Lennox. Dublin: Abbey Theatre, 1939.Google Scholar
Manabe, Akiko. W. B. Yeats and Kyogen: Individualism and Communal Harmony in Japan’s Classical Theatrical Repertoire. Études Anglaises 68:4 (2015), 425–41.Google Scholar
Mann, Neil. A Reader’s Guide to Yeats’s A Vision. South Carolina: Clemson University Press, 2019.CrossRefGoogle Scholar
Martin, Heather C. W. B. Yeats: Metaphysician as Dramatist. Waterloo, ON: Wilfrid Laurier University Press, 1986.Google Scholar
Mathews, P. J. Revival: The Abbey Theatre, Sinn Féin, the Gaelic League and the Co-Operative Movement. Field Day Critical Conditions. Gen ed. Deane, Seamus. Cork: Cork University Press, 2003.Google Scholar
McAteer, Michael. Yeats and European Drama. Cambridge: Cambridge University Press, 2010.Google Scholar
McCormack, W. J. Dissolute Characters: Irish Literary History through Balzac, Sheridan Le Fanu, Yeats and Bowen. Manchester: Manchester University Press, 1993.Google Scholar
Meredith, George. An Essay on Comedy and the Uses of the Comic Spirit. New York: Charles Scribner’s Sons, 1897.Google Scholar
Merleau-Ponty, Maurice. Phenomenology of Perception. Trans. Landers, Donald A.. London: Routledge, 2012.Google Scholar
Meyer, Matthew. The Comic Nature of Ecce Homo. Journal of Nietzsche Studies 43:1 (2012), 3243.CrossRefGoogle Scholar
Meyerhold, Vsevolod. Meyerhold on Theatre. Ed. and trans. Braun, Edward. London: Methuen, 1969.Google Scholar
Miller, Andrew Hiller. Modernism, Ireland and the Erotics of Memory. Cambridge: Cambridge University Press, 2002.Google Scholar
Miller, Liam. The Noble Drama of W. B. Yeats. Dublin: Dolmen, 1977.Google Scholar
Moore, John Rees. Masks of Love and Death: Yeats as Dramatist. Ithaca, NY: Cornell University Press, 1971.Google Scholar
Morash, Chris and Richards, Shaun. Mapping Irish Theatre: Theories of Space and Place. Cambridge: Cambridge University Press, 2013.CrossRefGoogle Scholar
Morin, Emilie. Theatres and Pathologies: Symbolism and Irish Drama from Maeterlinck to Beckett. In Silence in Modern Irish Literature, ed. McAteer, Michael. Leiden: Brill, Rodopi, 2017, 3548.Google Scholar
Moses, Michael Valdez. The Rebirth of Tragedy: Yeats, Nietzsche, the Irish National Theatre, and the Anti-Modern Cult of Cuchulain. Modernism/modernity, 11:3 (September 2004), 561–79.CrossRefGoogle Scholar
Murray, Gilbert. Excursus on the Ritual Forms Preserved in Greek Tragedy. Themis: A Study of the Social Origins of Greek Religion, ed. Harrison, Jane Ellen. Cambridge: Cambridge University Press, 1912, 341–63.Google Scholar
Nally, Claire. Envisioning Ireland: W. B. Yeats’s Occult Nationalism. Oxford: Peter Lang, 2010.Google Scholar
Nathan, Leonard E. The Tragic Drama of William Butler Yeats: Figures in a Dance. New York: Columbia University Press, 1965.Google Scholar
Nietzsche, Friedrich. Basic Writings of Nietzsche. Ed. and trans. Kaufmann, Walter. New York: Modern Library, 2000.Google Scholar
Nietzsche, Friedrich. The Birth of Tragedy and the Genealogy of Morals. Trans. Golffing, Francis. New York: Doubleday, 1956.Google Scholar
Nietzsche, Friedrich. The Case of Wagner: Nietzsche Contra Wagner; The Twilight of the Idols; The Antichrist. Trans. Common, Thomas. London: T. Fisher Unwin, 1899.Google Scholar
Nietzsche, Friedrich. The Complete Works of Friedrich Nietzsche: Volume Three: The Birth of Tragedy. Trans. Haussmann, Wm. A., ed. Levy, Oscar. London: T.N. Foulis, 1909.Google Scholar
Nietzsche, Friedrich. Twilight of the Idols. Trans. Hollingdale, R. J.. Harmondsworth: Penguin, 1990.Google Scholar
O’Donoghue, Bernard (2006). Yeats and the Drama. In The Cambridge Companion to W. B. Yeats, ed. Howes, Marjorie and Kelly, John. Cambridge: Cambridge University Press, 101–14.Google Scholar
Orage, A. R. Friedrich Nietzsche and the Dionysian Spirit of the Age. London: T. N. Foulis, 1906.Google Scholar
O’Toole, Fintan. No Yeats, No Beckett? Why the Poet’s Plays Still Matter. Irish Times (10 June 2015), C18C19.Google Scholar
Parkinson, Thomas. W. B. Yeats: A Poet’s Stagecraft, 1899–1911. ELH 17:2 (1950), 136–61.Google Scholar
Paul, Catherine. W. B. Yeats and the Problem of Belief. Yeats Annual 21 (2018), 295316.Google Scholar
Pavis, Patrice. Dictionary of the Theatre: Terms, Concepts, Analysis. Trans. Shantz, Christine. Toronto: University of Toronto Press, 1998.CrossRefGoogle Scholar
Peter, John. Vladimir’s Carrot: Modern Drama and the Modern Imagination. London: Methuen, 1988.Google Scholar
Pethica, James. ‘Our Kathleen’: Yeats’s Collaboration with Lady Gregory in the Writing of Cathleen ni Houlihan. Yeats Annual 6 (1988), 331.Google Scholar
Pietrzak, Wit. The Critical Thought of W. B. Yeats. London: Macmillan, 2017.CrossRefGoogle Scholar
Pilkington, Lionel. Theatre and the State in Twentieth-Century Ireland: Cultivating the People. London: Routledge, 2001.Google Scholar
Plotinus. The Enneads. Trans. McKenna, Stephen; 4th ed. rev. ed. Paige, B. S.. London: Faber, 1956.Google Scholar
Plunkett, Grace. Doctors Do Recommend It! An Abbey Tonic in Twelve Doses. Dublin: Colm O Loghlainn at the Sign of the Three Candles, 1930.Google Scholar
Pop, Andrei. A Forest of Symbols: Art, Science, and Truth in the Long Nineteenth Century. New York: Zone Books, 2019.CrossRefGoogle Scholar
Poulain, Alexandra. ‘Grant Me an Old Man’s Frenzy’: Age and Rage on the Stage. International Yeats Studies I:1 (2016), Article 4, 1329.CrossRefGoogle Scholar
Poulain, Alexandra. Introduction. Études Anglaises 68:4 (2015), 380–3.Google Scholar
Poulain, Alexandra. The King’s Threshold, Calvary, The Death of Cuchulain: Yeats’s Passion Plays, Yeats Annual 19 (2013), 4963.Google Scholar
Puchner, Martin. The Drama of Ideas: Platonic Provocations in Theater and Philosophy. Oxford: Oxford University Press, 2010.CrossRefGoogle Scholar
Puchner, Martin. Stage Fright: Modernism, Anti-Theatricality, and Drama. Baltimore, MD: Johns Hopkins, 2002.Google Scholar
Putzel, Steven. Poetic Ritual and Audience Response: Yeats and the Nō. In Yeats and Postmodernism, ed. Orr, Leonard. Syracuse: Syracuse University Press, 1991, 105–25.Google Scholar
Rancière, Jacques. Aisthesis: Scenes from the Regime of Art. Trans. Paul, Zakir. London: Verso, 2013.Google Scholar
Rancière, Jacques. The Emancipated Spectator. Trans. Elliott, Gregory. London: Verso, 2009.Google Scholar
Rancière, Jacques. The Politics of the Aesthetic. Ed. and trans. Rockhill, Gabriel. London: Bloomsbury, 2004.Google Scholar
Remport, Eglantina. Edward Gordon Craig, and W. B. Yeats, 1901–1911: Engaging Turner, Ruskin, Wagner and Appia. Irish Studies Review 28:1 (2020), 94114.CrossRefGoogle Scholar
Reynolds, Paige. Modernism, Drama, and the Audience for Irish Spectacle. Cambridge: Cambridge University Press, 2007.Google Scholar
Reynolds, Paige. Reading Publics, Theater Audiences, and the Little Magazines of the Abbey Theatre. New Hibernia Review 7:4 (2003), 6384.CrossRefGoogle Scholar
Reynolds, Paige. A Theatre of the Head. Modern Drama 58:4 (2015), 437–60.Google Scholar
Robinson, Lennox. Curtain Up: An Autobiography. London: Michael Joseph, 1942.Google Scholar
Robinson, Lennox. The Irish National Theatre. In Abbey Theatre Dramatic Festival of Plays and Lectures: Dublin Aug. 6th–20th, 1938, Dublin: Abbey Theatre, 1938, 9.Google Scholar
Robinson, Lennox. Yeats as a Man of the Theatre. The Arrow: Yeats Memorial Issue, 1939; reproduced in programme for The Annual W.B. Yeats Festival, Abbey Theatre, Dublin, 1990. Abbey Digital Theatre Archive, NUIG.Google Scholar
Rose, Enid. Gordon Craig and the Theatre: A Record and an Interpretation. New York: Frederick A. Stokes, 1931.Google Scholar
Russell, George [Æ]. The Dramatic Treatment of Heroic Literature. Samhain (October 1902), 1113.Google Scholar
Russell, George [Æ]. The National Being: Some Thoughts on an Irish Polity. Dublin: Maunsel & Co., 1916.Google Scholar
Saddlemyer, Ann. ‘The Heroic Discipline of the Looking Glass’: W. B. Yeats’s Search for Dramatic Design. In The World of W. B. Yeats: Essays in Perspective, ed. Skelton, Robin and Saddlemyer, Ann. Victoria, BC: University of Victoria, 1965, 81103.Google Scholar
Said, Edward. Yeats and Decolonisation. Derry: Field Day, 1988.Google Scholar
Samhain: October 1901–November 1908. Frank Cass Library of English Little Magazines. Intro. Bloomfield, B. C.. London: Frank Cass & Co., 1970.Google Scholar
Sartre, Jean-Paul. Sartre on Theater. Ed. Contat, Michel and Rybalka, Michel, trans. Jellinek, Frank. New York: Pantheon, 1976.Google Scholar
Schuchard, Ronald. The Last Minstrels: Yeats and the Revival of the Bardic Arts. Oxford: Oxford University Press, 2008.Google Scholar
Schuchard, Ronald. W. B. Yeats and the London Theatre Societies, 1901–1904. Review of English Studies N.S. 29:116 (1978), 415–46.Google Scholar
Schumacher, Claude (ed.). Naturalism and Symbolism in European Theatre 1850–1918. Cambridge: Cambridge University Press, 1996.Google Scholar
Shelley, Percy Bysshe. Essays and Letters. Ed. Rhys, Ernest. London: Walter Scott, 1886.Google Scholar
Sheppard, W. Anthony. Centennial Reflections at the New York Japan Society: Certain Noble Plays of Japan (1916) and At the Hawk’s Well (1916). International Yeats Studies, 1:2 (2017), Article 5, 4957.Google Scholar
Silk, M. S., and Stern, J. P.. Nietzsche on Tragedy. Cambridge: Cambridge University Press, 1981.Google Scholar
Simpson, Hannah. ‘Now Keep Out of the Way, Whitelaw’: Self-Expression, Agency and Directorial Control in W. B. Yeats’s and Samuel Beckett’s Theatre. Comparative Drama, 49:4 (2015), 399418.Google Scholar
Skene, Reg. The Cuchulain Plays of W. B. Yeats: A Study. New York: Columbia University Press, 1974.Google Scholar
Stanislavski, Constantin. Creating a Role. Trans. Reynolds Hapgood, Elizabeth. London: Methuen, 1981.Google Scholar
Staudenmaier, Peter. Occultism, Race and Politics in German-Speaking Europe, 1880–1940: A Survey of the Historical Literature. European History Quarterly, 39:1 (2009), 4770.CrossRefGoogle Scholar
Stokes, John. Aspects of Bernhardt. Yearbook of English Studies 11 (1981), 143–60.CrossRefGoogle Scholar
Symons, Arthur. Plays, Acting and Music. London: Duckworth, 1903.Google Scholar
Symons, Arthur. Studies in Seven Arts. London: Archibald Constable & Co., 1906.Google Scholar
Szuts, Melinda. The Space-Minded Dramaturgy of W. B. Yeats in Theory and Practice: At the Hawk’s Well and the Dance Plays. International Yeats Studies, I:1 (2016), Article 11, 86102.CrossRefGoogle Scholar
Taylor, Richard. The Drama of W. B. Yeats: Irish Myth and the Japanese Nō. New Haven, CT: Yale University Press, 1976.Google Scholar
Trigg, Dylan. Schopenhauer and the Sublime Pleasure of Tragedy. Philosophy and Literature, 28:1 (2004), 165–79.CrossRefGoogle Scholar
Tyndall, John. Address Delivered Before the British Association Assembled at Belfast. London: Longmans, Green & Co., 1874.Google Scholar
Ure, Peter. Yeats the Playwright: A Commentary on Character and Design in the Major Plays. London: Routledge and Kegan Paul, 1963.Google Scholar
Vendler, Helen. Yeats’s Vision and the Later Plays. Cambridge, MA: Harvard University Press, 1963.CrossRefGoogle Scholar
Wilson, Edmund. Axël’s Castle: A Study of the Imaginative Literature of 1870–1930. New York: Charles Scribner’s Sons, 1931.Google Scholar
Wilson, F. A. C. W. B. Yeats and Tradition. London: Methuen, 1958.Google Scholar
Worth, Katharine. The Irish Drama of Europe from Yeats to Beckett. London: Athlone Press, 1978.Google Scholar
Yeats, William Butler. At the Hawk’s Well and The Cat and the Moon: Manuscript Materials. Ed. Parkin, Andrew. Ithaca, NY: Cornell University Press, 2010.Google Scholar
Yeats, William Butler. Certain Noble Plays of Japan. From the Manuscripts of Ernest Fenollosa, Chosen and Finished by Ezra Pound. With an Introduction by William Butler Yeats. Churchtown: Cuala Press, 1916.Google Scholar
Yeats, William Butler. Collaborative One-Act Plays, 1901–1903: Cathleen ni Houlihan; The Pot of Broth; The Country of the Young; Heads or Harps: Manuscript Materials. Ed. Pethica, James. Ithaca, NY: Cornell University Press, 2006.Google Scholar
Yeats, William Butler. The Countess Cathleen: Manuscript Materials. Ed. Sidnell, Michael J. and Chapman, Wayne K.. Ithaca, NY: Cornell University Press, 1999.Google Scholar
Yeats, William Butler. Deirdre: Manuscript Materials. Ed. Bartholome Rohan, Virginia. Ithaca, NY: Cornell University Press, 2004.Google Scholar
Yeats, William Butler. The Dreaming of the Bones and Calvary: Manuscript Materials. Ed. Chapman, Wayne K.. Ithaca, NY: Cornell University Press, 2003.Google Scholar
Yeats, William Butler. Druid Craft: The Writing of the Shadowy Waters: Manuscripts of W.B. Yeats Transcribed, Edited and With A Commentary. Ed. Sidnell, Michael J., Mayhew, George P., and Clark, David R.. Amherst: University of Massachusetts Press, 1971.Google Scholar
Yeats, William Butler. Four Lectures by W. B. Yeats, 1902–1904. Ed. Londraville, Richard. Yeats Annual 8 (1991), 78122.Google Scholar
Yeats, William Butler. Four Plays for Dancers. London: Macmillan, 1921.Google Scholar
Yeats, William Butler. ‘The Golden Helmet’ and ‘The Green Helmet’: Manuscript Materials. Ed. Hogan, William P.. Ithaca, NY: Cornell University Press, 2009.Google Scholar
Yeats, William Butler. The Herne’s Egg: Manuscript Materials. Ed. Armstrong, Alison. Ithaca, NY: Cornell University Press, 1993.Google Scholar
Yeats, William Butler [attrib.]. Is the Order of R. R. & A. C. to Remain a Magical Order? n.p., 1901.Google Scholar
Yeats, William Butler. The King of the Great Clock Tower and A Full Moon in March: Manuscript Materials. Ed. Cave, Richard Allen. Ithaca, NY: Cornell University Press, 2007.Google Scholar
Yeats, William Butler. The King’s Threshold: Manuscript Materials. Ed. Kiely, Declan. Ithaca, NY: Cornell University Press, 2005.Google Scholar
Yeats, William Butler. The Land of Heart’s Desire: Manuscript Materials. Ed. Curtis, Jared. Ithaca, NY: Cornell University Press, 2002.Google Scholar
Yeats, William Butler. Love and Death. 1884. Scholar
Yeats, William Butler. Memoirs: Autobiography – First Draft Journal. Ed. Donoghue, Denis. New York: Macmillan, 1972.Google Scholar
Yeats, William Butler. On Baile’s Strand: Manuscript Materials. Ed. Curtis, Jared and Kiely, Declan. Ithaca, NY: Cornell University Press, 2014.Google Scholar
Yeats, William Butler. The Only Jealousy of Emer and Fighting the Waves: Manuscript Materials. Ed. Winnett, Steven. Ithaca, NY: Cornell University Press, 2004.Google Scholar
Yeats, William Butler. A People’s Theatre: A Letter to Lady Gregory. The Irish Statesman, I:23 (Nov. 29, 1919), 547–9; and I:24 (6 Dec. 1919), 572–3.Google Scholar
Yeats, William Butler. Plays for an Irish Theatre. London: A. H. Bullen, 1911.Google Scholar
Yeats, William Butler. Purgatory: Manuscript Materials Including the Author’s Final Text. Ed. Siegel, Sandra F.. Ithaca, NY: Cornell University Press, 1986.Google Scholar
Yeats, William Butler. The Resurrection: Manuscript Materials. Ed. Curtis, Jared and Guinness, Selina. Ithaca, NY: Cornell University Press, 2011.Google Scholar
Yeats, William Butler. Uncollected Prose 2: Reviews, Articles and Other Miscellaneous Prose 1897–1939. Ed. Frayne, John P. and Johnson, Colton. New York: Columbia University Press, 1976.Google Scholar
Yeats, William Butler. Words Upon the Window Pane: Manuscript Materials. Ed. Fitzgerald, Mary. Ithaca, NY: Cornell University Press, 2002.Google Scholar
Yeats, William Butler and Moore, George. Diarmuid and Grania: Manuscript Materials. Ed. Mays, J.C. C.. Ithaca, NY: Cornell University Press, 2005.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the or variations. ‘’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Christopher Morash, Trinity College Dublin
  • Book: Yeats on Theatre
  • Online publication: 09 July 2021
  • Chapter DOI:
Available formats

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Christopher Morash, Trinity College Dublin
  • Book: Yeats on Theatre
  • Online publication: 09 July 2021
  • Chapter DOI:
Available formats

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Christopher Morash, Trinity College Dublin
  • Book: Yeats on Theatre
  • Online publication: 09 July 2021
  • Chapter DOI:
Available formats