Yeats’s Creative Use of Wilde’s Salomé in his Revisions of The Shadowy Waters, On Baile’s Strand and Deirdre

Doody, Noreen

doi:10.1007/978-3-319-89548-2_7

Noreen Doody²

162 Accesses

Abstract

This chapter looks at the changes that Yeats makes to his three early plays in the months following his attendance at Wilde’s Salomé (1905). This early input from Salomé is the beginning of a particular strain of influence that builds into a central, powerful component within Yeats’s creative work. Salomé is of great importance to the development of Yeats’s aesthetics: the revisions of his three plays indicate their indebtedness to Wilde’s play in terms of emotion, intellectual content, metaphysical leanings, image, symbol and structure. He combines, re-makes and refines these elements within his work and later chapters will show this process continuing and advancing within his creative thinking.

Yeats’s introduction of sexuality into his work is one of the most notable changes he makes, particularly in relation to language and the re-imagining of his heroines, Dectora and Deirdre, who he re-configures in the image of Salomé as complex, desiring women who will enable Yeats’s later creation of his central symbolic image of the dancer.

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Notes

1.
W.B. Yeats, “To Arthur Symons,” 3rd August 1905. The Collected Letters of W.B. Yeats Vol. IV: 1905–1907, ed. John Kelly and Ronald Schuchard, p. 145.
2.
Michael J. Sidnell, George P. Mayhew and David R. Clark, Druid Craft: The Writing of The Shadowy Waters: Manuscripts of W.B. Yeats Transcribed, Edited and with a Commentary (Dublin: Dolmen Press, 1972), p. 302.
3.
W.B. Yeats, “To Arthur Symons”, 3rd August 1905. The Collected Letters of W.B. Yeats. Volume IV: 1905–1907, ed. John Kelly and Ronald Schuchard, p. 145.
4.
W.B. Yeats, “To Arthur Symons”, 10th September 1905. The Collected Letters of W.B. Yeats Vol. IV: 1905–1907. Eds., John Kelly and Ronald Schuchard, p. 175.
5.
Mss., Tss. and holographs of The Shadowy Waters are contained in folders 1–30 in the National Library of Ireland, Ms. 8761 & M/F 7491. All but one—Folder 30—relate to the 1900 version of The Shadowy Waters. The published Shadowy Waters (London: Hodder and Stoughton, 1900) is dedicated to Lady Gregory . All quotes from the 1900 version of the play will be taken from the Hodder and Stoughton edition.
6.
Michael J. Sidnell, George P. Mayhew and David R. Clark, Druid Craft: The Writing of The Shadowy Waters, p. 302.
Two prompt copies of this version of the play are held in the Berg Collection, New York Public Library. Prompt copy one is described as “Typewritten prompt copy, with additions in Miss Horniman’s hand 38p.” This is almost certainly from 14th January 1904 production. The first copy was probably given to Florence Farr as the basis for the 1905 production. The second seems copied from the first and is described as: “Typewritten prompt copy, with the author’s ms. corrections and additions in Florence Farr’s hand 38p.” Lola Szladits, “Addenda to Sidnell: Yeats’s Shadowy Waters” in Papers of the Bibliographic Society of America, Vol. 62, 1968, p. 617.
7.
W.B. Yeats, “Discoveries” in Early Essays. Volume IV: The Collected Works of W.B. Yeats, ed. Richard Finneran and George Bornstein, p. 195.
8.
W.B. Yeats, [“A Note to TSW”] in The Arrow, 1906 in A Commentary on the Collected Plays of W.B. Yeats ed. A.N. Jeffares and A.S. Knowland, p. 60.
9.
“[The Shadowy Waters] has become a simple passionate play or at any rate it has a simple passionate story for the common sightseer, though I keep back something for instructed eyes”. “To John Quinn, Sep. 16, 1905”, The Collected Letters of W.B. Yeats Vol. IV: 1905–1907, ed. John Kelly and Ronald Schuchard, p. 179.
N.L.I. Ms. 8761/M/f 7491, ts. 30 was written in the summer of 1905. I have compared ts. 30 with the version of The Shadowy Waters in Poems 1899–1905 (London: A.H. Bullen, 1906) and have found them to be almost identical. All quotes are taken from Poems 1899–1905.
10.
See Richard Allen Cave, Introduction to W.B. Yeats: Selected Plays (London: Macmillan, 1997), p. xix.
11.
“From W.B. Yeats to Lady Gregory ”, “Dec. 30, 1904”. Suheil Badi’ Bushru’i, Yeats’s Verse Plays: The Revisions 1900–1910 (Oxford: Clarendon Press, 1965), p. 47.
12.
W.B. Yeats, Letter to Augusta Gregory [18 May 1905], The Letters of W.B. Yeats Vol. IV: 1905–1907, p. 90.
13.
National Library Ireland, Microfiche 30,017: “Page proofs of Poems, 1899–1905 (1906). First proof dated 24 xi 1905. Contains part of The Shadowy Waters and On Baile’s Strand pages numbered 65–96”. Stamped on page 81 of On Baile’s Strand ts.: “Wm. Brendan & Son, Ltd. Plymouth. First proof: 24. xi. 05 revise () Please return to Publisher.” [Date in pen.] These proof pages go from beginning of play to entrance of boy that tallies with Yeats’s claim (2nd November 1905) that “The first half of On Baile’s Strand is entirely new”(“To A.H. Bullen”, The Collected Letters of W.B. Yeats, Vol. IV. 1905–1907, ed. John Kelly and Ronald Schuchard, p. 208). It would appear that this proof copy is the version of his play Yeats claims to have “rewritten since performance” in February 1905 (The Collected Letters of W.B. Yeats, Vol. IV, 1905–1907, p. 44). This version was never published. However, the play was performed by the Irish National Theatre Society on its tour to Oxford, Cambridge and London in November 1905. In late November, Yeats asked Bullen to halt its publication (“To John Quinn, 6 December, 1905”, The Collected Letters of W.B. Yeats, Vol. IV, 1905–1907, p. 240). He then pursued the final revision of the play. Yeats’s mss. of this play are collected, introduced and discussed by eds., Jared Curtis and Declan Kielty in On Baile’s Strand: Manuscript Materials (Ithaca: Cornell University Press, 2014).
14.
N.L.I., Ms. 21,498/Mf. 7466, Abbey Acting Script. The version in this ts. of On Baile’s Strand played at the Abbey Theatre 16th April 1906. I have compared On Baile’s Strand in Abbey Acting Script with the version of the play in Poems: 1899–1905 (London: Bullen, 1906) and have found them to be similar except in some minor particulars. The emendations to Abbey Acting Script in Yeats’s hand are included in Bullen version. All quotes are taken from Poems: 1899–1905 .
15.
W.B. Yeats, Deirdre 1904, National Library of Ireland, ts. 15, 40ff., inscribed “Oct. 5 1904”.
16.
Augusta Gregory , “The Fate of the Three Sons of Usnach” in Cuchulain of Muirthemne (1902 rpt., Gerard’s Cross: Colin Smythe, 1970).
17.
W.B. Yeats, National Library of Ireland, Ms. 8760 & M/F 7491. Mss., tss. and holographs of Deirdre contained in folders 1–20 and “Deirdre Mss. for John Quinn”. Ms. 21,493, Abbey Acting Script of Deirdre. Grey cover, scorched at edges. White label with red border. Kept in blue folder marked, “Abbey Theatre Papers. Typescript of Deirdre by W.B. Yeats [1906?].”
18.
In an interview that appeared in the Dublin Evening Mail, 31st December 1904, Yeats said that Deirdre “may be ready for production in the early spring”. The Collected Letters of W.B. Yeats, 1901–1904, Vol III, ed. John Kelly and Ronald Schuchard (Oxford: Clarendon Press, 1994), note 1, p. 691.
19.
W.B. Yeats, “To Augusta Gregory ”. “May 30, 1905”. The Collected Letters of W.B. Yeats Vol. IV: 1905–1907, ed. John Kelly and Ronald Schuchard, p. 107.
20.
W.B. Yeats, “To John Quinn”, “June, 1905”. The Collected Letters of W.B. Yeats Vol. IV: 1905–1907, ed. John Kelly and Ronald Schuchard, p. 126.
21.
“What courage you have to begin a great work like Deirdre all over again – I don’t think I could do that”. “From Maud Gonne to W.B. Yeats”, “April 29, 1906”. The Gonne-Yeats Letters 1893–1938: always your friend, ed. with an introduction by Anna MacBride White and A. Norman Jeffares (London: Pimlico, 1993), p. 229.
22.
W.B. Yeats, The Shadowy Waters (London: Hodder and Stoughton, 1900), pp. 27, 50.
23.
National Library of Ireland, ms. 21,506 & M/F 7466, ts. the Abbey Acting Script of The Shadowy Waters 1906 with emendations in the hand of W.B. Yeats. I have compared this version with The Shadowy Waters: As First Played in the Abbey Theatre, Dec. 1906 (London: Bullen, 1907) and have found them to be almost identical.
The texts of The Shadowy Waters: As First Acted in the Abbey and in Poems 1899–1905 , are substantially similar but have notable differences, which I will refer to when necessary to my argument.
Present quotes from The Shadowy Waters: As First Acted in the Abbey p. 4.
24.
W.B. Yeats, The Shadowy Waters: As First Acted in the Abbey, (1906), p. 18.
25.
W.B. Yeats, The Shadowy Waters in Poems 1899–1905 (London: A.H. Bullen, 1906), p. 34.
26.
W.B. Yeats, Deirdre, (1904). Ts. 15, chron. p. 15.
27.
Oscar Wilde, Salomé in The Complete Works of Oscar Wilde: Volume V, ed. Joseph Donohue, pp. 717, 729.
28.
“I have just put three women into Baile’s Strand”, “W.B. Yeats to Màire Garvey”, “December, 18, 1905”. N.L.I., Roberts Ms. 8320.
29.
W.B. Yeats, On Baile’s Strand, Poems 1899–1905, p. 103.
30.
W.B. Yeats, A Vision: The Revised 1937 Edition. The Collected Works of W.B. Yeats, Vol. XIV. Eds., Catherine E. Paul and Margaret Mills Harper, p. 199.
31.
This poem first appeared in Shanachi, (Spring Vol.), 16th February 1906.
W.B. Yeats, On Baile’s Strand, Poems 1899–1905, p. 104.
32.
Robert Hogan and Michael J. O’Neill, eds., Joseph Holloway’s Abbey Theatre: A Selection from his Unpublished Journal: Impressions of a Dublin Playgoer (London and Amsterdam: Southern Illinois University Press, Feiffer and Symons, Inc., 1967), p. 77.
33.
W.B. Yeats, The Shadowy Waters, (1900), p. 49.
34.
W.B. Yeats, The Shadowy Waters in Poems 1899–1905, p. 57; Abbey Acting Script (1906), p. 25.
35.
W.B. Yeats, The Shadowy Waters in Poems 1899–1905, p. 39.
36.
Oscar Wilde, Salomé in The Complete Works of Oscar Wilde: Volume V, ed. Joseph Donohue, p. 713.
37.
W.B. Yeats, The Shadowy Waters in Poems 1899–1905, p. 39.
38.
W.B. Yeats, The Shadowy Waters, (1900), p. 35.
39.
W.B. Yeats, The Shadowy Waters, Poems 1899–1905, p. 62.
40.
Salomé’s beheading of Iokanaan prompts Kristeva’s description of her as “divine castrator”. Julia Kristeva, The Severed Head: Capital Visions, trans., Jody Gladding (New York: Columbia, 2014), p. 110. Theories of Salomé as castrator of males and/or femme fatale have been discussed by a number of other critics, including: Charles Bernheimer, Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy, and Culture of the Fin de Siècle in Europe, ed. T. Jefferson Kline and Naomi Schor (Baltimore: Johns Hopkins University Press, 2002); Susan A. Glenn, Female Spectacle: The Theatrical Roots of Modern Feminism (Harvard: Harvard University Press, 2002); Tony Garland, “Deviant desires and dance: the femme fatale status of Salome and the Dance of the seven veils” in Refiguring Oscar Wilde’s Salomé, ed., Michael Y. Bennett (Amsterdam: Rodopi, 2011); Patrick J. Quinn, Patriarchy in Eclipse: The Femme Fatale and the New Woman in American Literature and Culture 1870–1920 (Cambridge, Cambridge Scholars Publishing, 2015).
41.
W.B. Yeats, Pref., Cuchulain of Muirthemne by Lady Gregory , p. 16.
42.
W.B. Yeats, “To T. Sturge Moore”. The Collected Letters of W.B. Yeats Vol. IV: 1905–1907, ed. John Kelly and Ronald Schuchard, p. 399. See also, Chapter Six Note 81.
A copy of Salomé (London: John Lane, The Bodley Head, New York; John Lane Company, MCMVI) is extant in Yeats’s library. Yeats’s name is inscribed in a hand I have ascertained is Annie Horniman’s. She has scored out lines of the text and written: “The parts marked in red ink are those cut in the play set to music by Richard Strauss.” The book is dated in Miss Horniman’s hand, “Feb, ‘07”. Strauss’s opera was produced in New York, 22nd January 1907. Whether Yeats and Miss Horniman were considering producing a cut version of Salomé at the Abbey is uncertain but the presence of the book indicates Wilde’s Salomé as a persistent presence in the poet’s mind.
43.
W.B. Yeats, “To W.G. Fay”. The Collected Letters of W.B. Yeats Vol. IV: 1905–1907, ed. John Kelly and Ronald Schuchard, p. 472.
44.
W.B. Yeats, Deirdre (1906). Folder marked, “Prose treatment”. Ts. 9, p. 5.
45.
W.B. Yeats, Deirdre (1906). Ts. 13, p.16 on left of double page 16.
46.
W.B. Yeats, Deirdre (1906). Ts. 13, chron. p.32, numbered 29.
47.
W.B. Yeats, Deirdre (1906). Ts. 13, in among pp. 21, 16, p.7.
48.
W.B. Yeats, Deirdre (1904). Ts. 15, chron. p. 19.
49.
W.B. Yeats, Deirdre (1904). Ts. 15, chron. p. 19.
50.
W.B. Yeats, Deirdre (1906). Ts. 11 (32 ff), p. 39.
51.
There is a basis in the Deirdre legend for Deirdre having been the more physically active in the initial courtship. However, Yeats did not use this version of the myth in his 1904 play.
52.
W.B. Yeats, Deirdre (1906). Ts. 11, p. 42.
53.
W.B. Yeats, Abbey Acting Script (1906), Deirdre, p. 2.
54.
Florence Darragh also played the part of Dectora in the Abbey production of The Shadowy Waters, 8th December 1906.
55.
W.B. Yeats, The Arrow, No. 2, vol.1 (Nov. 24, 1906), p. 1.
56.
W.B. Yeats, “To John B. Yeats”. 21st July [1906]. The Collected Letters of W.B. Yeats Vol. IV: 1905–1907, ed. John Kelly and Ronald Schuchard, p. 451.
57.
“Gregory to Yeats”, “Jan. 18, 1907”. Anne Saddlemeyer, Theatre Business: the correspondence of the first Abbey Theatre Directors (Colin Smythe: Gerard’s Cross, 1982), p. 207.
58.
“Synge to Gregory”, “Dec. 13, 1906”. Anne Saddlemeyer, Theatre Business, p. 179.
59.
“Gregory to Synge”, “Jan. 15, 1907”. Anne Saddlemeyer, Theatre Business, p. 197.
60.
Max Beerbohm was of the same opinion as Yeats, believing her a “genuine tragedien”, and commenting on her ability in Salomé “to purge somewhat our physical disgust through spiritual terror”. William Tydeman and Steven Price, Wilde: Salomé, p. 55.
61.
Robert Hogan and Michael J. O’Neill, eds., Joseph Holloway’s Abbey Theatre, p. 75.
62.
Oscar Wilde, Salomé in The Complete Works of Oscar Wilde: Volume V, ed. Joseph Donohue, p. 723.
63.
W.B. Yeats, Deirdre (1906). Ts. 11, p. 45.
64.
Oscar Wilde, Salomé in The Complete Works of Oscar Wilde: Volume V, ed. Joseph Donohue, p. 716. For an interesting interrogation of images of women in late nineteenth-century male Symbolists’ subversion of gender norms, see: Sarah E. Maier, “Symbolist Salomés and the Dance of Dionysus.” Nineteenth-Century Contexts, Vol. 28, No. 3. (September, 2006).
65.
Wilde read classics at Trinity College Dublin (1871–1874) where he was awarded a Foundation Scholarship (1873), the Berkeley Gold Medal for Greek and a Demyship in classics to Magdalen College, Oxford. At Oxford he gained first class honours in Classical Moderations (Mods.) (1876), won the Newdigate Poetry Prize and gained honours first class in Literae Humaniores (Greats) (1878).
66.
W.B. Yeats, Deirdre (1906), Abbey Acting Script, p. 41.
67.
W.B. Yeats, Deirdre (1904), Ts. 15, chron. pp. 24, 23.
68.
W.B. Yeats, Deirdre (1906), Abbey Acting Script, p. 44. (Ts. 15, chron. p. 18) 1904.
69.
There are mentions of the “kiss” in Diarmuid and Grania by Yeats and George Moore. However, this play, although completed in December 1900, was not published at the time. The version of the play in the Variorum Edition is a revised edition of the original and attributed mainly to Moore. In view of the radical changes that I have noted between the various versions of Yeats’s plays under study in this book, I do not think the extant version of Diarmuid and Grania can be considered a reliable source from which to make any useful conjectures here. Also, the uncertain provenance of the present version of the play compromises its integrity as a useful source enquiry. See William Becker, “Introductory Note” to The Variorum Edition of the Plays of W.B. Yeats, p. 1169.
70.
W.B. Yeats, The Shadowy Waters (1900), p. 43
71.
W.B. Yeats, Deirdre (1904). Ts. 15, chron. p. 15.
72.
W.B. Yeats, Deirdre (1906). Ts. 11, p. 42.
73.
W.B. Yeats, Deirdre (1906). Ts. 13, p. 26.
74.
W.B. Yeats, The Shadowy Waters (1900), pp. 31, 45, 47.
75.
W.B. Yeats, The Shadowy Waters, Poems: 1899–1905, pp. 43, 44, 51.
76.
W.B. Yeats, The Shadowy Waters, Abbey Acting Script. (1906), p. 336.
77.
Oscar Wilde, Salomé in The Complete Works of Oscar Wilde: Volume V, ed. Joseph Donohue.
p. 730.
78.
W.B. Yeats, The Shadowy Waters (1905), p. 57.
79.
W.B. Yeats, The Shadowy Waters (1900), p. 55.
80.
W.B. Yeats, The Shadowy Waters in Poems: 1899–1905, pp. 40, 41, 67.
81.
Oscar Wilde, Salomé in The Complete Works of Oscar Wilde: Volume V, ed. Joseph Donohue.
pp. 729, 730.
82.
W.B. Yeats, Deirdre, (1904). Ts. 15, chron. p. 19.
83.
W.B. Yeats, Deirdre (1906). Ts. 20 (“Rough typescript, corrected. 29 ff clipped together.”), p. 8.
84.
W.B. Yeats, Deirdre (1906), Ts. 11, pp. 43, 44, 45. W.B. Yeats, Deirdre (1904). Ts. 15, chron. pp. 21, 22.
85.
W.B. Yeats, The Shadowy Waters (1900), p. 14.
86.
W.B. Yeats, The Shadowy Waters (1900), pp. 45, 48, 55.
87.
W.B. Yeats, The Shadowy Waters, Poems: 1899–1905, p. 63.
88.
W.B. Yeats, The Shadowy Waters (1906), Abbey Acting Script, p. 8.
89.
W.B. Yeats, The Shadowy Waters (1906), Abbey Acting Script, p. 10, 11.
90.
W.B. Yeats, On Baile’s Strand, Poems: 1899–1905, p. 106.
91.
W.B. Yeats, Deirdre (1904), Ts. 15, chron. p. 21.
92.
W.B. Yeats, Deirdre (1906), Abbey Acting Script, p. 39.
93.
The new inclusion was striking enough to be mentioned in a review of the play: “the oath scene being weirdly grand”. The Freeman’s Journal, 17th April 1906. Robert Hogan and James Kilroy, The Abbey Theatre: The Years of Synge, 1905–1909 (Dublin: Dolmen Press, 1978), p. 64.
94.
Lady Augusta Gregory , Cuchulain of Muirthemne, p. 237.
95.
N.L.I., Microfiche 30,017: “Page proofs of Poems, 1899–1905 (1906). First proof dated 24 xi 1905. Contains part of The Shadowy Waters and On Baile’s Strand pages numbered 65–96”, p. 92.
96.
W.B. Yeats, Deirdre in The Collected Works of W. B. Yeats Vol. II: The Plays, ed. David R. Clark and Rosalind E. Clark, pp.181; 185.
97.
The Shadowy Waters (1905) in Poems: 1899–1905, p. 40.
98.
W.B. Yeats, Deirdre (1904), ts. 15, chron. p. 20.
99.
W.B. Yeats, Deirdre, “Deirdre Mss. for John Quinn. The Penny Exercise Book, 80 pages”. Chron. p. 39^r.
100.
W.B. Yeats, Deirdre, Abbey Acting Script, p. 33.
101.
Oscar Wilde, Salomé in The Complete Works of Oscar Wilde: Volume V, ed. Joseph Donohue, pp. 725, 726.
102.
W.B. Yeats, Deirdre, Abbey Acting Script. p. 35.

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Noreen Doody

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Doody, N. (2018). Yeats’s Creative Use of Wilde’s Salomé in his Revisions of The Shadowy Waters, On Baile’s Strand and Deirdre. In: The Influence of Oscar Wilde on W.B. Yeats. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-89548-2_7

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DOI: https://doi.org/10.1007/978-3-319-89548-2_7
Published: 08 August 2018
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-89547-5
Online ISBN: 978-3-319-89548-2
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)

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