The Influence of Oscar Wilde on W.B. Yeats by Noreen Doody

Author:Noreen Doody
Language: eng
Format: epub, pdf
ISBN: 9783319895482
Publisher: Springer International Publishing

26W.B. Yeats, A Vision: The Revised 1937 Edition. The Collected Works of W.B. Yeats Vol. XIV, ed. Catherine E. Paul & Margaret Mills Harper, p. 186.

27W.B. Yeats, The Player Queen in The Plays. The Collected Works of W.B. Yeats Volume II, ed. David R. Clark & Rosalind E. Clark, p. 364.

28W.B. Yeats, A Vision: The Revised 1937 Edition. The Collected Works of W.B. Yeats Vol. XIV, ed. Catherine E. Paul and Margaret Mills Harper, p. 197.

29W.B. Yeats, The Player Queen in The Plays. The Collected Works of W.B. Yeats Volume II, ed. David R. Clark & Rosalind E. Clark, p. 368.

Yeats produced The Player Queen in 1919 at the Abbey Theatre and published it in 1922 and again in 1934. The changes he makes in the published versions are slight; the play remains essentially the same as the text under discussion, which was completed in spring 1917; the finished play merely emphasizes what has already been written in the earlier draft. The changes that Yeats made to his play after spring 1917 are stylistic, a matter of sharpening profile and pointing to consequences, rather than altering content. His meaning, his philosophic ideas, remains unchanged. Yeats makes some adjustments to the language in the finished play, which brings his intended meaning into sharper focus. He does this most noticeably when speaking of his hopes for cultural renewal and the role of the unicorn. When speaking of this phenomenon Septimus’s voice is more emphatic and bold: “Gather about me, for I announce the end of the Christian Era, the coming of a New Dispensation, that of the New Adam, that of the Unicorn but alas. He is chaste, he hesitates, he hesitates.”

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