The Aesthetics and Politics of “Dreaming Back”: Yeats, Pound, Japanese Noh Plays, and Their Stone Cottage Collaboration
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In the winters of 1913-14, 1914-15, and 1915-16, Yeats and Pound spent their time together at a small cottage in Ashdown Forest, Sussex. This so-called “The Stone Cottage Spiritual Workshop,” the literary collaboration between Yeats and Pound, initiates the modernist movement. The process of their literary collaboration has manifested itself in Per Amica Silentia Lunae and The Dreaming of the Bones. Per Amica Silentia Lunae is the most systematic statement of Yeats’s poetics to appear before the first edition of A Vision in 1925, and The Dreaming of the Bones (1917) is closely modelled on the mugen Noh, most particularly on Nishikigi. Both provide Yeatsian aesthetic manifesto of the open spiritual poetics that underlies his later dramatic theory of theater and poetry. And like the plays Nishikigi and Motomezuka, Yeats discovered the dramatic and theatrical representations of the dreaming back of the dead in his later plays.
Abstract
In the winters of 1913-14, 1914-15, and 1915-16, Yeats and Pound spent their time together at a small cottage in Ashdown Forest, Sussex. This so-called “The Stone Cottage Spiritual Workshop,” the literary collaboration between Yeats and Pound, initiates the modernist movement. The process of their literary collaboration has manifested itself in Per Amica Silentia Lunae and The Dreaming of the Bones. Per Amica Silentia Lunae is the most systematic statement of Yeats’s poetics to appear before the first edition of A Vision in 1925, and The Dreaming of the Bones (1917) is closely modelled on the mugen Noh, most particularly on Nishikigi. Both provide Yeatsian aesthetic manifesto of the open spiritual poetics that underlies his later dramatic theory of theater and poetry. And like the plays Nishikigi and Motomezuka, Yeats discovered the dramatic and theatrical representations of the dreaming back of the dead in his later plays.
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