Four Years: Top Irish Collections
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At the end of the eighties my father and mother, my brother and sisters and myself, all newly arrived from Dublin, were settled in Bedford Park in a red-brick house with several wood mantlepieces copied from marble mantlepieces by the brothers Adam, a balcony, and a little garden shadowed by a great horse-chestnut tree. Years before we had lived there, when the crooked, ostentatiously picturesque streets, with great trees casting great shadows, had been anew enthusiasm: the Pre-Raphaelite movement at last affecting life. But now exaggerated criticism had taken the place of enthusiasm; the tiled roofs, the first in modern London, were said to leak, which they did not, and the drains to be bad, though that was no longer true; and I imagine that houses were cheap. I remember feeling disappointed because the co-operative stores, with their little seventeenth century panes, were so like any common shop; and because the public house, called 'The Tabard' after Chaucer's Inn, was so plainly a common public house; and because the great sign of a trumpeter designed by Rooke, the Pre-Raphaelite artist, had been freshened by some inferior hand. The big red-brick church had never pleased me, and I was accustomed, when I saw the wooden balustrade that ran along the slanting edge of the roof, where nobody ever walked or could walk, to remember the opinion of some architect friend of my father's, that it had been put there to keep the birds from falling off. Still, however, it had some village characters and helped us to feel not wholly lost in the metropolis. I no longer went to church as a regular habit, but go I sometimes did, for one Sunday morning I saw these words painted on a board in the porch: 'The congregation are requested to kneel during prayers; the kneelers are afterwards to be hung upon pegs provided for the purpose.' In front of every seat hung a little cushion, and these cushions were called 'kneelers.' Presently the joke ran through the community, where there were many artists, who considered religion at best an unimportant accessory to good architecture and who disliked that particular church.
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作者简介
William Butler Yeats (13 June 1865 – 28 January 1939) was an Irish poet and one of the foremost figures of 20th-century literature. A pillar of both the Irish and British literary establishments, in his later years he served as an Irish Senator for two terms. Yeats was a driving force behind the Irish Literary Revival and, along with Lady Gregory, Edward Martyn, and others, founded the Abbey Theatre, where he served as its chief during its early years. In 1923, he was awarded the Nobel Prize in Literature as the first Irishman so honoured for what the Nobel Committee described as "inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation." Yeats is generally considered one of the few writers who completed their greatest works after being awarded the Nobel Prize; such works include The Tower (1928) and The Winding Stair and Other Poems (1929).
Yeats was a very good friend of American expatriate poet and Bollingen Prize laureate Ezra Pound.
Yeats wrote the introduction for Rabindranath Tagore's Gitanjali, which was published by the India Society.
William Butler Yeats was born in Sandymount, Ireland and educated there and in London; he spent his childhood holidays in County Sligo. He studied poetry in his youth and from an early age was fascinated by both Irish legends and the occult. Those topics feature in the first phase of his work, which lasted roughly until the turn of the 20th century. His earliest volume of verse was published in 1889, and its slow-paced and lyrical poems display Yeats's debts to Edmund Spenser, Percy Bysshe Shelley, and the poets of the Pre-Raphaelite Brotherhood. From 1900, Yeats's poetry grew more physical and realistic. He largely renounced the transcendental beliefs of his youth, though he remained preoccupied with physical and spiritual masks, as well as with cyclical theories of life.
