W. B. Yeats’s Dual Narrative in The Celtic Twilight: A Generic Merger and a Mask for the Anti-Self
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The objective of this paper is to examine the function of the dual narrative in The Celtic Twilight, as a generic merger between the essay and the story as well as a mask for the anti-self of the poet. The book is a peculiar and creative attempt by Yeats who wanted to compile the Irish folklores accurately and candidly. Despite his denial of imagination used in the book, The Celtic Twilight is full of imagination both personal and universal. It is narrated through a highly elaborate version of mask that Yeats learned from both the ancient and the contemporary writers. While Yeats’s grand project is to reach and recover the Unity of Being lost in the past which was doomed to fail in the commercial world, he never gave up not only his vision but also his trust in art as a means of transcendence. In this world art is the only hope: to Yeats, just as his narrative as a mask of the anti-self was paradoxical by nature, so was the poet’s imagination—beliefs and dreams—which Yeats knew well enough.
Abstract
The objective of this paper is to examine the function of the dual narrative in The Celtic Twilight, as a generic merger between the essay and the story as well as a mask for the anti-self of the poet. The book is a peculiar and creative attempt by Yeats who wanted to compile the Irish folklores accurately and candidly. Despite his denial of imagination used in the book, The Celtic Twilight is full of imagination both personal and universal. It is narrated through a highly elaborate version of mask that Yeats learned from both the ancient and the contemporary writers. While Yeats’s grand project is to reach and recover the Unity of Being lost in the past which was doomed to fail in the commercial world, he never gave up not only his vision but also his trust in art as a means of transcendence. In this world art is the only hope: to Yeats, just as his narrative as a mask of the anti-self was paradoxical by nature, so was the poet’s imagination—beliefs and dreams—which Yeats knew well enough.
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