Gregory, Augusta. Our Irish Theatre. G. P. Putnam’s Sons.
80
W. B. Yeats
-
Standard Name: Yeats, W. B.
Used Form: William Butler Yeats
Used Form: Willie Yeats
WBY
, who began publishing well before the end of the nineteenth century, is regarded as one of the most important twentieth-century poets in English, and one of the most international of Irish writers. He was early involved in the Irish Literary Revival, and wrote early, highly romantic lyrics on Celtic and fairy themes. Later he made poetry out of the search for a poetic language. Some of his later work is affected by his interest in the occult.
Connections
| Connections | Author name Sort ascending | Excerpt |
|---|---|---|
| Occupation | Augusta Gregory | The first idea for the Irish Literary Theatre developed as AG
, W. B. Yeats
, and Edward Martyn
were discussing the latter's play Maeve, and asked themselves why it could not be staged... |
| Textual Production | Augusta Gregory | |
| Textual Production | Augusta Gregory | Gods and Fighting Men: The Story of the Tuatha de Danaan and of the Fianna of Ireland, AG
's translation and arrangement of a medieval romance cycle, was published with a preface by W. B. Yeats
. Mikhail, Edward Halim. Lady Gregory: An Annotated Bibliography of Criticism. Whitston. 22 McDiarmid, Lucy et al. “Introduction, Notes, and Bibliography”. Selected Writings, Penguin, pp. xi - xliv, 525. 531 |
| Textual Production | Augusta Gregory | The part of Cathleen was written for Maud Gonne
, who played it magnificently and with weird power, as Yeats
put it. Murphy, James H. “Broken Glass and Batoned Crowds: <span data-tei-ns-tag="tei_title" data-tei-title-lvl=‘m’>Cathleen Ni Houlihan</span> and the Tensions of Transition”. Ireland in Transition, 1867-1921, edited by D. George Boyce and Alan O’Day, Routledge, pp. 113-27. 124 |
| Performance of text | Augusta Gregory | Cathleen Ni Houlihan, a one-act play co-authored by AG
and W. B. Yeats
, was first performed by the Irish National Dramatic Company
at St Teresa's Hall, Dublin, with Maud Gonne
in the title role. McDiarmid, Lucy et al. “Introduction, Notes, and Bibliography”. Selected Writings, Penguin, pp. xi - xliv, 525. xxxi, 534 Murphy, James H. “Broken Glass and Batoned Crowds: <span data-tei-ns-tag="tei_title" data-tei-title-lvl=‘m’>Cathleen Ni Houlihan</span> and the Tensions of Transition”. Ireland in Transition, 1867-1921, edited by D. George Boyce and Alan O’Day, Routledge, pp. 113-27. 113 |
| Literary responses | Augusta Gregory | The play was very well received, drawing large and enthusiastic audiences. From the beginning, critics recognized its hypnotic effect and its potential to stir audiences to violence. One reviewer, Stephen Gwynn
, questioned whether such... |
| Performance of text | Augusta Gregory | AG
's popular comedy about village gossip, Spreading the News, was performed alongside Yeats
's On Baile's Strand and their co-written Cathleen Ni Houlihan for the opening of the Abbey Theatre
in Dublin. McDiarmid, Lucy et al. “Introduction, Notes, and Bibliography”. Selected Writings, Penguin, pp. xi - xliv, 525. xvii |
| Literary responses | Augusta Gregory | W. B. Yeats
felt that she alone of the Abbey playwrights wrote out of a spirit of pure comedy, and laugh[ed] without bitterness and with no thought but to laugh. Saddlemyer, Ann. In Defence of Lady Gregory, Playwright. Dufour Editions. 31 |
| Performance of text | Augusta Gregory | A production of AG
's The Deliverer and Yeats
's The Hour-Glass at the Abbey Theatre
in Dublin was the first to use screens designed by Edward Gordon-Craig
. Saddlemyer, Ann, and Augusta Gregory. “Foreword and History of First Productions”. The Tragedies and Tragic Comedies of Lady Gregory, Colin Smythe, p. v - xiii. xi Innes, Christopher. Edward Gordon Craig. Cambridge University Press. 143, 221 |
| Textual Production | Augusta Gregory | Lady Gregory found this play very difficult to write, and turned to both Yeats
and Synge
for help. Her own later diagnosis was, I think I kept too closely to history. Saddlemyer, Ann, and Augusta Gregory. “Foreword and History of First Productions”. The Tragedies and Tragic Comedies of Lady Gregory, Colin Smythe, p. v - xiii. vii |
| Performance of text | Augusta Gregory | The Unicorn from the Stars, co-written by AG
and W. B. Yeats
, was produced at the Abbey Theatre
, Dublin. Saddlemyer, Ann, and Augusta Gregory. “Foreword and History of First Productions”. The Tragedies and Tragic Comedies of Lady Gregory, Colin Smythe, p. v - xiii. x |
| Textual Production | Augusta Gregory | AG
was very pleased with herself for being able to write a full-length play with only three characters. When she told Yeats
this, he replied: They must have a great deal to talk about. McDiarmid, Lucy et al. “Introduction, Notes, and Bibliography”. Selected Writings, Penguin, pp. xi - xliv, 525. 544 |
| Performance of text | Augusta Gregory | AG
's The Travelling Man, a miracle play co-written with W. B. Yeats
, was first produced at the Abbey
in Dublin. Saddlemyer, Ann, and Augusta Gregory. “Foreword and History of First Productions”. The Tragedies and Tragic Comedies of Lady Gregory, Colin Smythe, p. v - xiii. xi Saddlemyer, Ann. In Defence of Lady Gregory, Playwright. Dufour Editions. 75 |
| Intertextuality and Influence | Augusta Gregory | AG
chose to focus on Grania—a controversial figure in Irish legend who leaves her intended husband for a lover but then returns to him—because of her strength of character. As she explains,I think I... |
| Textual Production | Augusta Gregory | AG
edited a collection of essays protesting against British imperialism: Ideals in Ireland with contributions from W. B. Yeats
, Douglas Hyde
, Standish O'Grady
, and Æ
. Murphy, Maureen. “Lady Gregory and the Gaelic League”. Lady Gregory, Fifty Years After, edited by Ann Saddlemyer and Colin Smythe, Gerrards Cross, Buckinghamshire, pp. 143-62. 150 Mattar, Sinéad Garrigan. “’Wage for Each People Her Hand Has Destoyed’: Lady Gregory’s Colonial Nationalism”. Irish University Review, Vol. 34 , No. 1, pp. 49-66. 63 |
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