Abstract
It is apparent from even the opening words of this broadcast (given on 9.05–9.30 p.m., 10 April 1932, BBC London, National Programme) that Yeats found it easy neither to choose poems nor to gloss them for the vast and unknown audience provided for him by radio. He had consulted his “great friend” Olivia Shakespear (1863–1938), his first lover, about the broadcast, asking her
if you can think of any poems of mine that would do for broadcasting tell me. I cannot use again the Belfast poems.1 I cannot think of more than perhaps two groups — six poems each. I wish I could think of anything else besides poems. (L 786) 786)
Eventually he read no poems about Olivia Shakespear, although he had considered reading “Memory”. Lady Gregory was dying at Coole, and he read no poems about her either, although the presence of death is strongly felt in the choice of poems. Constrained, too, by the pattern of audience expectations he had built up over many years with the shape-changing but relatively constant canon of the T. Fisher Unwin Poems (1895–1927), he knew he had to read on each occasion at least a couple of well-loved early lyrics. The holograph of the broadcast notes contains certain tentative lists of identifiable poems, in some cases linked by Yeats with specific women and with estimates of how long (in minutes) each would take to read.
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Notes
Charles Ricketts (1866–1931), artist, designer and printer. A friend of Mabel Beardsley, he had asked Yeats to visit her. Ricketts had made dolls based on drawings by her brother. In 1908 he had lent a fancy-dress costume to her which “in a few minutes became a mere bundle of coloured strips by the mere fact of being tried on”. This costume, to which Yeats refers to in “Certain Artists Bring Her Dolls and Drawings”, was that of Atossa from Rickett’s designs for Aeschylus’s The Persians (J. P. Delaney, Charles Ricketts [Oxford: Clarendon, 1990] pp. 222 and 231). Another doll was based on Beardsley’s drawing of Mademoiselle de Maupin.
The “the” in lines 11 and 15 are not found in printed texts, although the first is present in MS versions (see W. B. Yeats, Michael Robartes and the Dancer Manuscript Materials, edited by Thomas Parkinson with Anne Brannen [Ithaca: Cornell, 1994] pp. 96–101). There is also a minor punctuational variant in line 19: see VP 397. In a cliché which perhaps responds to these lines, Lady Fingall, a close friend of Constance Markievicz, called her “a stormy petrel from the beginning to the end” (Seventy Years Young: Memories Told to Pamela Hinkson [London, 1937] p. 193).
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© 1997 Deirdre Toomey
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Gould, W. (1997). W. B. Yeats’s “Poems about Women: a Broadcast”. In: Toomey, D. (eds) Yeats and Women. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-25822-2_11
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