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“The Second Coming” is a poem written by Irish poet William Butler Yeats in 1919, first printed in The Dial in November 1920 and included in his 1921 collection of verses Michael Robartes and the Dancer. [1] The poem uses Christian imagery regarding the Apocalypse and Second Coming to describe allegorically the atmosphere of post-war Europe ...
The Countess Kathleen and Various Legends and Lyrics is the second poetry collection of W. B. Yeats. [1] [2] It includes the play The Countess Cathleen and group of shorter lyrics that Yeats would later collect under the title of The Rose in his Collected Poems.
Modernists read the well-known poem "The Second Coming" as a dirge for the decline of European civilisation, but it also expresses Yeats's apocalyptic mystical theories and is shaped by the 1890s. His most important collections of poetry started with The Green Helmet (1910) and Responsibilities (1914).
The Second Coming (Percy novel), a 1980 novel by Walker Percy "The Second Coming" (poem), a 1920 poem by William Butler Yeats 'Salem's Lot or Second Coming, a 1975 novel by Stephen King; The Second Coming: A Leatherdyke Reader, a book edited by Patrick Califia and Robin Sweeney; The Second Coming: A Love Story, a 2014 novel by Scott Pinsker
"the centre cannot hold", a phrase from the poem "The Second Coming" by William Butler Yeats; The Centre Cannot Hold, a 2017 album by Ben Frost; American Empire: The Center Cannot Hold, a novel by Harry Turtledove; The Centre Cannot Hold, an EP by Digitonal; The Center Cannot Hold: My Journey Through Madness, a book by Elyn Saks
The Rhymers' Club was a group of London-based male poets, founded in 1890 by W. B. Yeats and Ernest Rhys. Originally not much more than a dining club, it produced anthologies of poetry in 1892 and 1894. [1] They met at the London pub ‘Ye Olde Cheshire Cheese’ in Fleet Street and in the 'Domino Room' of the Café Royal. [2]
From 1889 to 1893 Yeats worked with Edwin Ellis, a minor painter and poet, on a three-volume edition of Blake's works, with a memoir and an effort to define every aspect of Blake's symbols. Yeats was pleased that Blake's artistic and poetic ideas harmonized with those of the theosophists and the students and members of the Hermetic Order of the ...
Yeats based the play on a purported Irish legend, "The Countess Cathleen O'Shea", which had been printed in an Anglo-Irish newspaper in 1867. [4] When he later attempted to trace its origins, the story appeared to have been adapted into English from a French story, "Les marchands d'âmes", whose protagonist was named "comtesse Ketty O'Connor".