The Mind and the Art of Yeats in Cathleen Ni Houlihan and Lady Gregory and John Synge
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This paper discusses Yeats’s Cathleen Ni Houlihan and in part Riders to the Sea to compare Yeats and Synge from a dual perspective: one is to investigate what may have been going on in Yeats’s mind in relation with the political Maud Gonne. Though Yeats claims that this play has originated in his dream, in view of his infatuation with Maud Gonne the play sounds inclined to politics, in spite of himself. In this situation, the main character Cathleen, this paper claims, must be a double identification of a Maud Gonne-Yeats-Cathleen. The latter part of the paper analyzes the art of Yeats in this play: the early use of singing is the beginning of the use of choruses in later plays, and there’s a possible adaptation of Shakespeare in the singing of the old woman. To Yeats, this play seems to be the earliest work Yeats regards as a very good piece; the writer claims it is a masterpiece, despite the claim that it is a co-work of Yeats and Lady Gregory.
Abstract
This paper discusses Yeats’s Cathleen Ni Houlihan and in part Riders to the Sea to compare Yeats and Synge from a dual perspective: one is to investigate what may have been going on in Yeats’s mind in relation with the political Maud Gonne. Though Yeats claims that this play has originated in his dream, in view of his infatuation with Maud Gonne the play sounds inclined to politics, in spite of himself. In this situation, the main character Cathleen, this paper claims, must be a double identification of a Maud Gonne-Yeats-Cathleen. The latter part of the paper analyzes the art of Yeats in this play: the early use of singing is the beginning of the use of choruses in later plays, and there’s a possible adaptation of Shakespeare in the singing of the old woman. To Yeats, this play seems to be the earliest work Yeats regards as a very good piece; the writer claims it is a masterpiece, despite the claim that it is a co-work of Yeats and Lady Gregory.
참고문헌 (12)
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