The essays in Yeats Annual No 7 are dedicated to the memory of Richard Ellmann, one of the great pioneer critics of W.B.Yeats. They have been contributed by distinguished colleagues and friends of Richard Ellmann, chosen on his advice. The volume also contains much new material by Yeats himself - a new and virtually complete early draft of his novel The Speckled Bird, here entitled 'The Lilies of the Lord' and two new poems from The Flame of the Spirit manuscript book, given to Maud Gonne in 1981.

In this multi-volume edition, the poetry of W.B. Yeats (1865–1939) is presented in full, with newly established texts and detailed, wide-ranging commentary. Yeats began to write verse in the nineteenth century, and over time his own arrangements of poems repeatedly revised and rearranged both texts and canon. This edition of Yeats’s poetry presents all his verse, both published and unpublished, including a generous selection of textual variants from the many manuscript and printed sources. The edition also supplies the most extensive commentary on Yeats’s poetry to date, explaining specific references, and setting poems in their contexts; it also gives an account of the vast range of both literary and historical influences at work on the verse. The poems are presented in order of composition, and major revisions or rewritings of poems result in separate inclusions (in chronological sequence) for these writings as they were subsequently reconceived by the poet. In this third volume, Yeats’s poetry of the first decade of the twentieth century is brought into sharp focus, revealing the extent of his efforts to re-fashion a style that had already made him a well-known poet. All of the major modes in Yeats’s earlier work are subject to radical re-imagining in these years, from poetic narrative founded in Irish myth, in poems such as ‘Baile and Aillinn’ and ‘The Old Age of Queen Maeve’, to the symbolist drama-poetry of The Shadowy Waters, here edited in its two (completely different) versions of 1900 and 1906. In a decade when the theatre was one of Yeats’s principal concerns, his lyric poems, which were becoming increasingly explicit in personal terms, began to discover new intensities of conversational pitch and mythic resonance. Poems such as ‘The Folly of Being Comforted’, ‘Adam’s Curse’, ‘No Second Troy’, and ‘The Fascination of What’s Difficult’ are given close attention in this new edition, alongside topical and epigrammatic pieces that are often passed over in accounts of Yeats’s development. The evolving complexities of Yeats’s personal and political lives are crucial to his artistic growth in these years, and the commentary gives these generous attention, showing how the poetry both feeds upon and often transcends the circumstances of its composition. The volume offers strong evidence for this decade as a crucial one in Yeats’s poetic life, in which the poet created wholly new registers for his verse as well as new dimensions for his imaginative vision.

First published in 1981. A Concordance to the Poems of John Keats intended to provide the user with a volume suitable to the varying and increasingly specialised interests of scholarship. This title offers a high degree of inclusiveness that attends to the poems and plays, the emended and authoritative headings, and virtually all of the variant readings considered substantive in the riches of the Keats manuscript materials. This title will be of interest to students of literature.

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William Blake (1757 - 1827) is one of the great figures in literature, by turns poet, artist and visonary. Profoundly libertarian in outlook, Blake's engagement with the issues of his day is well known and this - along with his own idiosynratic concerns - flows through his poetry and art. Like Milton before him, the prodigality of his allusions and references is little short of astonishing. Consquently, his longer viosnary poems can challege the modern reader, who will find in this avowedly open edition all they might need to interpret the poetry. W. H. Stevenson's Blake is a masterpiece of scrupulous scholarship. It is, as the editor makes clear in his introduction, 'designed to be widely, and fluently, read' and this Third Edition incorporates many changes to further that aim. Many of the headnotes have been rewritten and the footnotes updated. The full texts of the early prose tracts, All Religions are One and There is no Natural Religion, are included for the first time. In many instances, Blake's capitalisation has been restored, better to convey the expressive individuality of his writing. In addition, a full colour plate section contains a representation of Blake's most significant paintings and designs. As the 250th anniversary of his birth approaches, Blake has perhaps more readers than ever before; Blake: The Complete Poems will stand those readers, new and old, in good stead for many years to come.

Vols. for 1980- issued in three parts: Series, Authors, and Titles.