A New Woman: Crazy Jane as Yeats’s Redemptive Synthesis of Fair and Foul
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Crazy Jane has long been a critical focus in discussing Yeats’s dramatis personae in his later poems. Critics have approached her from various perspectives―source studies, feminist analysis, psychoanalytical interpretation, biographical context, postcolonial approach, etc. Portraits of Crazy Jane are roughly classified in three types, first as Yeats’s impersonal mask, second as androgynous voice and gender reverse to express Yeats’s Other, and finally Yeats’s revision of the traditional gender role and personification of national identity. The present essay takes the view that Crazy Jane is a unity of being that comprehends all these three types, and, more importantly, a unity of opposites that does not merely combine but redemptively synthesizes opposites, “fair and foul,” at once inclusive and transcendent of them.
Abstract
Crazy Jane has long been a critical focus in discussing Yeats’s dramatis personae in his later poems. Critics have approached her from various perspectives―source studies, feminist analysis, psychoanalytical interpretation, biographical context, postcolonial approach, etc. Portraits of Crazy Jane are roughly classified in three types, first as Yeats’s impersonal mask, second as androgynous voice and gender reverse to express Yeats’s Other, and finally Yeats’s revision of the traditional gender role and personification of national identity. The present essay takes the view that Crazy Jane is a unity of being that comprehends all these three types, and, more importantly, a unity of opposites that does not merely combine but redemptively synthesizes opposites, “fair and foul,” at once inclusive and transcendent of them.
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