Abstract
This chapter asserts that Oscar Wilde was a major precursor of W.B. Yeats. Wilde’s influence was substantial and pervasive and continued as a dynamic entity within Yeats’s creative imagination throughout his life.
Yeats first saw Wilde’s Salomé in performance in 1905, which was a pivotal year for Yeats’s influential involvement with Wilde’s work. Yeats was attracted by both Wilde’s ideas and his visual images, and the major areas of influence within the relationship are outlined in this chapter. Wilde’s treatment of symbol and thinking on mask and image are shown as fundamental to Yeats’s thought in arriving at his final philosophical position in A Vision, which underpins so much of his poetry and plays.
The subject of literary influence is discussed. A theory of literary influence that encompasses both Bloom’s agonistic theory and a more benign, irenic theory is suggested as a way of investigating the particular Wilde/Yeats scene of influence.
Oscar Wilde, The Picture of Dorian Gray (1891) in The Complete Works of Oscar Wilde: Volume III, ed. Joseph Bristow, p. 183.
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Notes
- 1.
W.B. Yeats, The Collected Works of W. B. Yeats. Volume III: Autobiographies, ed. William H. O’Donnell, Douglas N. Archibald, J. Fraser Cocks III, Gretchen L. Schwenker (New York: Scribner, 1999), pp. 124; 223.
- 2.
Worth , Katharine, The Irish Drama of Europe from Yeats to Beckett (New York: Bloomsbury, 2014), p. 115.
- 3.
T.S. Eliot, “Reflections on Contemporary Poetry” in The Egoist, VI (July, 1919), 39–40.
- 4.
See also on this theme, Philip L. Marcus, Yeats and Artistic Power (New York: New York University Press, 1992).
- 5.
“The ethic of ‘good’ writing derives from the concluding paragraphs of Walter Pater’s essay, ‘Style’, in Appreciations (1889), and echoes Wilde’s observations in the preface of The Picture of Dorian Gray (1891): that ‘the morality of art consists in the perfect use of an imperfect medium’, and that there ‘is no such thing as a moral or an immoral book. Books are well written or badly written. That is all.’” Note 5 in The Collected Letters of W.B. Yeats Vol. II: 1896–1900, ed. Warwick Gould, John Kelly and Deirdre Toomey (Oxford: Oxford University Press, 1997), p. 209.
- 6.
See Letter to Richard Ashe King, 5 August [1897] and Note 6, in The Collected Letters of W.B. Yeats Vol. II: 1896–1900, ed. Warwick Gould, John Kelly and Deirdre Toomey, p. 130. All references to the letters of W.B. Yeats (1896–1907) are from the four published volumes of the Oxford University Press series, The Collected Letters of W.B. Yeats. The letters from subsequent years are from Allan Wade’s, The Letters of W.B. Yeats, ed. Allan Wade (London: Rupert Hart-Davis, 1954), or as otherwise specified.
- 7.
Virginia Hyde, “W. B. Yeats’s Talismanic Book: The Secret Rose” in The 1890s: British Literature, Art, and Culture, ed. G. A. Cevasco (New York and London: Garland Publishing Co., 1993), p. 539.
- 8.
W.B Yeats, Autobiographies. The Collected Works of W.B. Yeats. Volume III, ed. William H. O’Donnell, Douglas N. Archibald, J. Fraser Cocks III, Gretchen L. Schwenker, p. 224.
- 9.
Interestingly, John Paul Riquelme shows that Wilde’s play is similarly significant for T.S. Eliot: “Salomé had a particularly intense effect on Eliot .” “T.S. Eliot’s Ambiviolences: Oscar Wilde as Masked Precursor” in The Hopkins Review, Volume 5, Number 3, Summer (Baltimore: Johns Hopkins University Press, 2012), p. 354. https://doi.org/10.1353/thr.2012.0060.
- 10.
Noreen Doody, “Performance and Place: Oscar Wilde and the Irish National Interest” and Joseph Bristow, “Picturing his Exact Decadence: the British Reception of Oscar Wilde” in The Reception of Oscar Wilde in Europe, ed. Stefano Evangelista (London: Bloomsbury, 2015).
- 11.
Unlike many of Wilde’s acquaintances, Yeats had been in no way deterred from his high opinion of Wilde by the 1895 trials . At no time, neither in the early years of their acquaintance nor through the years of public obloquy, was Wilde far from Yeats’s thought: he read all of Wilde’s works, commented upon him in private letters and referred to him in public interviews and lectures.
- 12.
Robert H. Sherrard, Oscar Wilde: the Story of an Unhappy Friendship (London: Greening and Co. Ltd., 1905); The Life of Oscar Wilde (London: T. Werner Laurie, 1906).
- 13.
J. Kelly, A W.B. Yeats Chronology (London: Palgrave Macmillan, 2003), p. 101.
- 14.
Moore writes: “I have not forgotten Oscar Wilde’s plays – that delicious comedy The Importance of Being Earnest , but however much I admire them I cannot forget that their style is derived from that of the Restoration comedy.” He then goes on to praise the originality of Synge . Yeats’s comments to Lady Gregory are concerned with Synge (The Irish Times , 21 November 1905), p. 10.
- 15.
Richard Ellmann, Oscar Wilde (London: Penguin Books, 1988), p. 284.
- 16.
W.B. Yeats, “The Philosophy of Shelley’s Poetry” in The Collected Works of W.B. Yeats, Volume IV: Early Essays, ed. Richard Finneran and George Bornstein (New York: Scribner, 2007), p. 66.
- 17.
W.B. Yeats, “William Blake and the Imagination” in Early Essays. The Collected Works of W.B. Yeats, Volume IV, ed. Richard Finneran and George Bornstein, p. 88.
- 18.
Marjorie Elizabeth Howes, Yeats’s Nations: Gender, Class, and Irishness (Cambridge: Cambridge University Press, 1998), p. 89.
- 19.
W.B. Yeats, “Magic” in Early Essays. The Collected Works of W.B. Yeats, Volume IV, ed. Richard Finneran and George Bornstein, p. 25.
- 20.
Helen Vendler, Poets Thinking: Pope, Whitman, Dickinson, Yeats (Cambridge, MA: Harvard University Press, 2006), pp. 107–108.
- 21.
See also, Wit Pietrzak’s excellent discussion on mask in “Cutting the Irish Agate” in which he acknowledges Wilde’s early influence on Yeats in relation to the mask. Wit Pietrzak, The Critical Thought of W. B. Yeats (London: Palgrave Macmillan, 2017), pp. 79–116.
- 22.
W.B. Yeats, The Player Queen, Ms. 8764, National Library of Ireland (Cited in subsequent references as: N.L.I). “W.B. Yeats Papers: The Player Queen – 11 folders and some notebooks”. The manuscripts are labelled i–xi on micro-film 7492.
- 23.
For a searching exposition of Yeats’s dealings with mask, see Warwick Gould, “The Mask before The Mask” in Yeats’s Mask: Yeats Annual No. 19. Vol. 19. (Open Book Publishers, 2013). JSTOR, www.jstor.org/stable/j.ctt5vjtxj.
- 24.
Neil Mann, “The Mask of A Vision” in Yeats Annual No. 19. A Special Edition, ed. Margaret Mills Harper and Warwick Gould, Open Book Publishers, 2013, p. 167.
- 25.
W.B. Yeats, A Vision: The Revised 1937edition. The Collected Works of W.B. Yeats Vol. XIV, ed. Catherine E. Paul and Margaret Mills Harper (New York: Scribner, 2015), p. 61.
- 26.
Rory Ryan, “The Is and the Ought, the Knower and the Known: An Analysis of the Four Faculties in Yeats’s System” in W. B. Yeats’s “A Vision”: Explications and Contexts, ed. Neil Mann, Matthew Gibson, and Claire Nally (Clemson, SC: Clemson University Digital Press, 2012), p. 28.
- 27.
Neil Mann, “The Thirteenth Cone”, note100, in W. B. Yeats’s “A Vision”: Explications and Contexts, ed. Neil Mann, Matthew Gibson, and Claire Nally, p.192.
- 28.
W.B. Yeats, Autobiographies . The Collected Works of W.B. Yeats Vol. III, ed. William H. O’Donnell and Douglas N. Archibald, p. 215. Oscar Wilde, “The Decay of Lying ” in The Complete Works of Oscar Wilde: Volume IV: Criticism: Historical Criticism, Intentions, The Soul of Man ed. Josephine M. Guy (Oxford: Oxford University Press, 2007), p. 91.
- 29.
Letter “To Lady Elizabeth Pelham”, “Jan. 4, 1939”, The Letters of W.B. Yeats, ed. Allan Wade, p. 922.
- 30.
Stan Smith, W.B. Yeats: A Critical Introduction (Basingstoke: Palgrave Macmillan, 1990), p. 63.
- 31.
Helen Vendler, Poets Thinking: Pope, Whitman, Dickinson, Yeats, p. 93.
- 32.
W.B. Yeats, A Vision: The Revised 1937edition. The Collected Works of W.B. Yeats Vol. XIV. Eds., Catherine E. Paul and Margaret Mills Harper, p. 178.
- 33.
Richard Ellmann, Oscar Wilde (London: Hamish Hamilton Ltd., 1985), p. 286.
- 34.
See: George Bornstein, “Yeats and Romanticism” in The Cambridge Companion to W. B. Yeats, ed. Marjorie Elizabeth Howes, John Kelly (Cambridge: Cambridge University Press), 2006; George Bornstein, Yeats and Shelley (Chicago: Chicago University Press, 1970); Gibson, Matthew. Yeats, Coleridge and the Romantic Sage (London: Macmillan Press, 2000).
- 35.
W.B. Yeats, “Prometheus Unbound” in The Collected Works of W.B. Yeats, Vol. V: Later Essays, ed. William H. O’Donnell (New York: Scribners, 1994), p.122.
- 36.
See: The Cambridge Companion to W. B. Yeats, ed. Marjorie Elizabeth Howes, John Kelly; Elizabeth Loiseaux, Yeats and the Visual Arts (New York: Syracuse University Press, 2003); David Holdeman, The Cambridge Introduction to W.B. Yeats (Cambridge: Cambridge University Press, 2006).
- 37.
Wayne Chapman, Yeats and the English Renaissance (Basingstoke: Palgrave Macmillan, 1991).
- 38.
See David Holdeman, The Cambridge Introduction to W.B. Yeats.
- 39.
See A. Norman Jeffares and A.S. Knowland, A Commentary on the Collected Plays of W.B. Yeats (London: Macmillan, 1975); Katharine Worth, Oscar Wilde (London: Macmillan, 1983); Frank Kermode, The Romantic Image (1957; rpt. London: Routledge, 2001); T.R. Henn, The Lonely Tower: Studies in the Poetry of W.B. Yeats (London: Methuen, 1950); Michael Steinman, Yeats’s Heroic Figures: Wilde, Parnell, Swift, Casement (New York: SUNY, 1983); Sylvia Ellis, The Plays of W.B. Yeats: Yeats and the Dancer (Basingstoke: Macmillan, 1995). Judit Nényei, Thought Outdanced: The Motif of Dancing in Yeats and Joyce (Budapest: Akademiai Kiado, April 2003). John Paul Riquelme, “Shalom/Solomon/Salomé: Modernism and Wilde’s Aesthetic Politics” (Centennial Review 39:3 (Fall 1995): 575–610). McAteer, Michael, Yeats and European Drama (Cambridge: Cambridge University Press, 2010).
- 40.
See for example, David Holdeman’s sound critical assertion: “Yeats, whose use of the mask metaphor owes much to Wilde.” However, no elaboration of the insight follows. The Cambridge Introduction to W.B. Yeats, p. 54. John Paul Riquelme states, “In playing down Wilde’s place in his development as an artist while stealing from him, Yeats is applying torque and perpetrating a double act of intellectual violence.” Riquelme’s focus is on Eliot and Wilde so he does not pursue this topic further. “T. S. Eliot’s Ambiviolences: Oscar Wilde as Masked Precursor” in The Hopkins Review, p. 360. https://doi.org/10.1353/thr.2012.0060.
- 41.
Richard Ellmann, “The Critic as Artist as Wilde” in Oscar Wild edited and introduced by Harold Bloom (New York: Chelsea house, 1983), p. 92.
- 42.
Noreen Doody, “Precursor and Ephebe: Oscar Wilde, Harold Bloom and the Theory of Poetry as Influence” in Barcelona English Language and Literature Studies, eds., Mireia Aragay and Jacqueline Hurtley (Barcelona: Universitat de Barcelona, 2000), pp. 25–31.
- 43.
Bloom writes: “The guide in that dark region of the will is … Nietzsche … where our ultimate gratitude to art in ‘the cult of the untrue’ falls short of the magnificence of Oscar Wilde’s ‘Decay of Lying’ ”. However, despite Wilde’s “magnificence”, Bloom allows greater intellectual weight to Nietzsche ; he repeats this pattern in respect of Wilde and Walter Pater. Agon (New York: Oxford University Press, 1982), pp. 31, 18.
- 44.
Frank Kermode, Romantic Image (1957; rpt. 2001); Richard Ellmann, Eminent Domain (New York: Oxford University Press, 1967). See also, Oscar Wilde (London: Hamish Hamilton, 1987); Yeats: The Man and the Masks (New York: 1948; rpt. Oxford: Oxford University Press, 1979); The Identity of Yeats (London: Macmillan, 1954) and Four Dubliners (New York: George Brazillier Inc., 1988).
George Yeats , according to her daughter, Anne Yeats, called Ellmann , “the first of the seekers” (Personal communication).
- 45.
Richard Ellmann, Eminent Domain, pp. 16–21.
- 46.
Terence Brown, The Life of W.B. Yeats, p. 31.
- 47.
R. Allen Cave, “Staging Salomé’s Dance in Wilde’s play and Strauss’s Opera” in Refiguring Oscar Wilde’s Salome, ed. Michael Y. Bennett (Amsterdam: Rodopi, 2011); Vicki Mahaffey, States of Desire: Wilde, Yeats, Joyce, and the Irish Experiment; Katharine Worth, The Irish Drama of Europe from Yeats to Beckett; Sylvia C. Ellis, The Plays of W.B. Yeats: Yeats and the Dancer (New York: St. Martin’s Press, 1995). Gregory Dobbins, Lazy Idle Schemers: Irish Modernism and the Cultural Politics of Idleness (Field Day Files Book 6) Field Day, 2015 (Kindle edition).
- 48.
See also Douglas N. Archibald, “Yeats’s Encounters: Observations on Literary Influence and Literary History” in New Literary History, Vol. 1, No. 3, History and Fiction (Spring, 1970), p. 443.
- 49.
Susan Stanford Friedman. “Weavings: Intertextuality and the (Re)Birth of the Author” in ed. Jay Clayton and Eric Rothstein, Influence and Intertextuality in Literary History (Wisconsin; University of Wisconsin, 1992), p. 154.
- 50.
Julia Kristeva, “Word, Dialog and Novel” in The Kristeva Reader, ed. Toril Moi (New York: Columbia University Press, 1986), p. 37.
- 51.
Roland Barthes, Entry for “Texte (théorie du)” in Encyclopédie Universalis. Paris, 1973. http://www.universalis.fr/.
tout texte est un intertexte; d’autres textes sont présents en lui, à des niveaux variables, sous des formes plus ou moins reconnaissables … un tissu nouveau de citations révolues. Passent dans le texte, redistribués, en lui des morceaux de codes, des formules, des modèles rythmiques, des fragments de langages sociaux, etc.
- 52.
Ibid., “L’intertexte est un champ général de formules anonymes, dont l’origine est rarement repérable, de citations inconscientes ou automatiques, données sans guillemets.”
- 53.
Harold Bloom, The Anxiety of Influence (New York: Oxford University Press, 1973), p. 95.
- 54.
Harold Bloom, A Map of Misreading (New York: Oxford University Press, 1975), p. 77.
- 55.
Bloom has named these revisionary ratios which he sees as characterizing poetic influence: Clinamen, Tessera, Kenosis, Daemonization, Askesis and Aphophrades in The Anxiety of Influence.
- 56.
Harold Bloom. Anxiety of Influence, p. 141.
- 57.
Eliot , Thomas Stearns, “Tradition and the Individual Talent” in The Sacred Wood: Essays on Poetry and Criticism (London: Faber and Faber, 1997), pp. 39–49.
- 58.
Robbie Ross, “A Note on Salomé” in Salomé: A Tragedy in One Act (London: John Lane, The Bodley Head, 1907), p. xviii.
In “The Critic as Artist ”, Wilde suggests that a text under criticism acts as a lift-off point for the critic into his own creative work. The critic, Wilde proposes, in taking his inspiration from the text, stands in the same relation to it as the artist does to his subject matter. Wilde’s stance on criticism can be equally applied to literary influence in relation to the later poet’s response to a precursor text (Oscar Wilde, “The Critic as Artist ” in The Complete Works of Oscar Wilde: Volume IV: Criticism: Historical Criticism, Intentions, The Soul of Man, ed. Josephine M. Guy, pp. 153, 159).
- 59.
Eliot , Thomas Stearns, The Sacred Wood: Essays on Poetry and Criticism, p. 105.
- 60.
Richard Ellmann, Eminent Domain, p. 3.
- 61.
Trans.: “In literature it is always necessary to kill one’s father”. William Rothenstein, Men and Memories: Recollections of William Rothenstein, 1872–1900 (New York: Coward-McCann, Incorporated, 1935), p. 184.
- 62.
Mihai Spariosu, A Wreath of Wild Olives: Play, Liminality, and the Study of Literature (New York: State of University of New York Press, 1997), p. 303. Spariosu believes that the irenic has yet to be established and put in place as the actual working principle of human relations and suggests that one way of doing this is through the liminal worlds created by literature. Liminal worlds are contingent on the actual and the imaginary and provide thresholds or passageways into alternative worlds. In these worlds ludic possibilities and possibilities of being and doing exist.
- 63.
Christopher Ricks, “A Theory of Poetry, and Poetry”. Review of Harold Bloom’s, Poetry and Repression: Revisionism from Blake to Stevens, in “Books”, New York Times, 14th March 1976. Bloom’s theories have been questioned by other critics, notably for the exclusionary patriarchal style in which he presents The Anxiety of Influence. Nevertheless, as observed by J. Andrew Brown “While we can question Bloom’s choices of language and allegory, we must continue to deal with their deeper theoretical implications.” The critical response of Gilbert and Gubar to Bloom’s theory of influence was its revision into a more positive, feminist theory the “Anxiety of Authorship”. In dealing with two male authors, however, Bloom’s theory is a valuable tool of enquiry. J. Andrew Brown, “Feminine Anxiety of Influence Revisited: Alfonsina Storni and Delmira Agustin”. Revista Canadiense de Estudios Hispánicos, Vol. 23, No. 2 (Invierno 1999), p. 193. Sandra M. Gilbert and Susan Gubar, “Infection in the Sentence: The Woman Writer and the Anxiety of Authorship” in The Mad Woman in the Attic (New Haven: Yale University Press, 1979).
- 64.
Christopher Ricks. Allusion to the Poets (Oxford: Oxford UP, 2002).
- 65.
Gregory Dobbins finds that “Wilde epitomized [for Yeats] both the imaginative capacity of the Irish and their cultural distinctness”. Lazy Idle Schemers: Irish Modernism and the Cultural Politics of Idleness, p. 34.
- 66.
See W.B. Yeats, Autobiographies. The Collected Works of W.B. Yeats Vol. III, ed. William H. O’Donnell and Douglas N. Archibald, for his early regard for Wilde, particularly pp. 124–129, and ms. 30,356 N.L.I. See also Ellmann’s The Identity of Yeats (1954; rpt. London: Macmillan, 1975), in which he quotes Yeats’s account of his first meeting with James Joyce. Yeats recalls: “But the next moment he spoke of a friend of mine [Oscar Wilde]”, p. 87.
- 67.
T.S. Eliot: “Reflections on Contemporary Poetry” in The Egoist, VI (July, 1919), pp. 39–40.
- 68.
See David M. Schneider, “The Nature of Kinship” in Man, Vol. 64. (Nov.–Dec., 1964). Sylvia Junko Yanagisako, “Introduction” in “American Kinship” in American Ethnologist, Vol. 5, No. 1. (Feb., 1978).
- 69.
W.B. Yeats, “Introduction”, Oxford Book of Modern Verse (Oxford: Clarendon Press, 1936), p. vii.
- 70.
Yet each man kills the thing he loves,/By each let this be heard, …/The coward does it with a kiss,/The brave man with a sword!” Oscar Wilde. “The Ballad of Reading Gaol” in “Introduction”, Oxford Book of Modern Verse, p. vii.
- 71.
Oscar Wilde, The Complete Works of Oscar Wilde: Volume III: The Picture of Dorian Gray: The 1890 and 1891 Texts, ed. Joseph Bristow (Oxford: Oxford University Press, 2005), pp. 20, 183.
- 72.
W.B. Yeats, The Death of Cuchulain in The Collected Works of W.B. Yeats Vol II: The Plays, ed. David R. Clark and Rosalind E. Clark (New York & London: Palgrave, 2001; New York: Scribner, 2001), p. 546.
- 73.
See Fabio Cleto. Effeminate England: Homoerotic Writing After 1885 (New York: Columbia, 1995). Linda Dowling. Hellenism and Homosexuality in Victorian Oxford (Ithaca: Cornell University Press, 1994). Steven Epstein. “Sexuality and Identity: The Contribution of Object Relations Theory to a Constructionist Sociology” in Theory and Society, Vol. 20, No. 6. (Dec., 1991). Alan Sinfield, The Wilde Century – Effeminacy, Oscar Wilde and the Queer Moment (London: Cassell, 1994). Daniel Orrells, Classical Culture and Modern Masculinity (Oxford: Oxford University Press, 2011).
- 74.
Éibhear Walshe, Oscar’s Shadow: Wilde, Homosexuality and Modern Ireland (Cork: Cork University Press, 2011), p. 26.
- 75.
Edwards, Jason, “The generation of the green carnation: sexual degeneration, the representation of male homosexuality and the limits of Yeats’s sympathy” in Modernist Sexualities, ed. Hugh Stevens and Caroline Stephens (Manchester: Manchester University Press), 2000.
- 76.
Harold Bloom, Agon: Towards a Theory of Revisionism, p. 226.
- 77.
W.B. Yeats, Autobiographies. The Collected Works of W.B. Yeats Vol. III. ed. William H. O’Donnell and Douglas N. Archibald, p. 215.
- 78.
W.B. Yeats, “Introduction”, The Happy Prince and Other Fairy Tales. Vol. III of The Complete Works of Oscar Wilde (New York: A.R. Keller, 1907), pp. ix–xvi. Rpt., “Wilde: The Happy Prince” in The Collected Works of W.B. Yeats, Volume VI: Prefaces and Introductions, ed. William H. O’Donnell (London: Macmillan, 1988), p. 150.
- 79.
Oscar Wilde, “The Soul of Man Under Socialism” in The Complete Works of Oscar Wilde: Volume IV: Criticism: Historical Criticism, Intentions, The Soul of Man, ed. Josephine M. Guy, p. 250.
- 80.
Bloom , despite the rigidity of his theory of influence, fully endorses the autonomous and dynamic agency of individual consciousness in the critical process when he states: “The only critical wisdom I know is that there is no method except yourself.” Harold Bloom in Imre Salusinszky, Criticism in Society: Interviews with Jacques Derrida, Northrop Frye, Harold Bloom, Geoffrey Hartman, Frank Kermode, Edward Said, Barbara Johnson, Frank Lentricchia and J. Hills Miller (London: Methuen, 1987), p. 67.
- 81.
Harold Bloom, Anxiety of Influence (New York: Oxford University Press, 1973); A Map of Misreading (New York: Oxford University Press, 1975); Poetry of Repression (New Haven (Conn.): Yale University Press, 1976); Agon (New York and Oxford: Oxford University Press, 1982). The Anatomy of Influence: Literature as a Way of Life (New Haven, CT: Yale University Press, 2011).
- 82.
W.B. Yeats, Introduction to A Vision in A Packet for Ezra Pound (Dundrum: Cuala, 1929), p. 32.
References
Manuscripts
Yeats, W.B. “W.B. Yeats Papers: The Player Queen, − 11 folders and some notebooks.” N.L.I. Ms. 8764. Micro-film 7492: “i–xi”.
Articles
Brown, J. Andrew. “Feminine Anxiety of Influence Revisited: Alfonsina Storni and Delmira Agustin”. Revista Canadiense de Estudios Hispánicos, Vol. 23, No. 2 (Invierno, 1999).
Eliot, T.S. “Reflections on Contemporary Poetry”. The Egoist, Vol. VI (July, 1919).
Epstein, Steven. “Sexuality and Identity: The Contribution of Object Relations Theory to a Constructionist Sociology”. Theory and Society, Vol. 20, No. 6 (December, 1991).
Ricks, Christopher. “A Theory of Poetry, and Poetry.” Review of Harold Bloom’s, Poetry and Repression: Revisionism from Blake to Stevens in “Books”, New York Times (March 14, 1976).
Riquelme, John Paul. “T. S. Eliot’s Ambiviolences: Oscar Wilde as Masked Precursor”. The Hopkins Review, Vol. 5, No. 3, Summer. Baltimore: Johns Hopkins University Press, 2012. https://doi.org/10.1353/thr.2012.0060
———. “Shalom/Solomon/Salomé: Modernism and Wilde’s Aesthetic Politics”. Centennial Review, Vol. 39, No. 3 (Fall, 1995).
Schneider, David M. “The Nature of Kinship”. Man, Vol. 64 (November–December 1964).
Yanagisako, Sylvia Junko. “Introduction (in American Kinship)”. American Ethnologist, Vol. 5, No. 1 (February 1978).
Books
Bloom, Harold. Agon. New York: Oxford University Press, 1982.
———. The Anxiety of Influence. New York: Oxford University Press, 1973.
———. A Map of Misreading. New York: Oxford University Press, 1975.
———. Poetry and Repression: Revisionism from Blake to Stevens. New Haven: Yale University Press, 1976.
———. The Anatomy of Influence: Literature as a Way of Life. Yale: Yale University Press, 2012.
Bornstein, George. Yeats and Shelley. Chicago: Chicago University Press, 1970.
Cevasco, G.A., ed. The 1890s: British Literature, Art, and Culture. New York and London: Garland Publishing Co., 1993.
Chapman, Wayne. Yeats and the English Renaissance. Basingstoke: Palgrave Macmillan, 1991.
Clayton, Jay and Eric Rothstein. Influence and Intertextuality in Literary History. Wisconsin: University of Wisconsin, 1992.
Cleto, Fabio. Effeminate England: Homoerotic Writing After 1885. New York: Columbia, 1995.
Dobbins, Gregory. Lazy Idle Schemers: Irish Modernism and the Cultural Politics of Idleness. (Field Day Files Book 6) Derry: Field Day, 2015.
Dowling, Linda. Hellenism and Homosexuality in Victorian Oxford. New York: Cornell University Press, 1994.
Eliot, Thomas Stearns. The Sacred Wood: Essays on Poetry and Criticism. London: Faber and Faber, 1997.
Ellis, Sylvia. The Plays of W.B. Yeats: Yeats and the Dancer. Basingstoke: Macmillan, 1995.
Ellmann, Richard. Eminent Domain. New York: Oxford University Press, 1967.
———. The Identity of Yeats. 1954; rpt. London: Faber and Faber Ltd., 1975.
Evangelista, Stefano, ed. The Reception of Oscar Wilde in Europe. London: Continuum, 2010.
Friedman, Susan Stanford. “Weavings: Intertextuality and the (Re)Birth of the Author” in Influence and Intertextuality in Literary History, ed. Jay Clayton and Eric Rothstein. Wisconsin: University of Wisconsin, 1992, p. 154.
Gibson, Matthew. Yeats, Coleridge and the Romantic Sage. London: Macmillan Press, 2000.
Gilbert, Sandra M. and Susan Guber. The Madwoman in the Attic: 19th Century Literature. New Haven (Conn.): Yale University Press, 1980.
Henn, T.R. The Lonely Tower: Studies in the Poetry of W.B. Yeats. London: Methuen, 1950.
Holdeman, David. The Cambridge Introduction to W.B. Yeats. Cambridge: Cambridge University Press, 2006.
Howes, Marjorie Elizabeth. Yeats’s Nations: Gender, Class, and Irishness. Cambridge: Cambridge University Press, 1998.
Howes, Marjorie Elizabeth and John Kelly, eds. The Cambridge Companion to W. B. Yeats. Cambridge: Cambridge University Press, 2006.
Jeffares, A. Norman and A.S. Knowland, A Commentary on the Collected Plays of W.B. Yeats. London: Macmillan, 1975.
Kermode, Frank. The Romantic Image. 1957; rpt. London: Routledge, 2001.
McAteer, Michael. Yeats and European Drama. Cambridge: Cambridge University Press, 2010.
Nényei, Judit. Thought Outdanced: The Motif of Dancing in Yeats and Joyce. Budapest: Akademiai Kiado, April 2003.
Orrells, Daniel. Classical Culture and Modern Masculinity. Oxford: Oxford University Press, 2011.
Pietrzak, Wit. The Critical Thought of W. B. Yeats. London: Palgrave Macmillan, 2017.
Ricks, Christopher. Allusion to the Poets. Oxford: Oxford University Press, 2002.
Rothenstein, William. Men and Memories: Recollections of William Rothenstein, 1872–1900. New York: Coward-McCann, 1935.
Salusinszky, Imre. Criticism in Society: Interviews with Jacques Derrida, Northrop Frye, Harold Bloom, Geoffrey Hartman, Frank Kermode, Edward Said, Barbara Johnson, Frank Lentricchia and J. Hillis Miller. London: Methuen, 1987.
Sinfield, Alan. The Wilde Century – Effeminacy, Oscar Wilde and the Queer Moment. London: Cassell, 1994.
Spariosu, Mihai. A Wreath of Wild Olives: Play, Liminality, and the Study of Literature. New York: State of University of New York Press, 1997.
Steinman, Michael. Yeats’s Heroic Figures: Wilde, Parnell, Swift, Casement. New York: State of University of New York Press, 1983.
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Doody, N. (2018). Introduction: “An Echo of Someone Else’s Music”. In: The Influence of Oscar Wilde on W.B. Yeats. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-89548-2_1
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