While Gus and his team at Ratcliffe Street Police Station are looking into the life histories of the dead men, George is getting impatient and decides to take matters into her own hands. Her methods are somewhat unorthodox and her discoveries bizarre, making it all the more difficult to piece together the elusive connection between the killer and his ever-increasing number of victims.

The figures of Michael Robartes and Owen Aherne appear throughout the writing of the great Irish poet W.B. Yeats, featuring in his poems, short fictions, dialogues and as authorities in notes to his work. Bringing together into one volume published and unpublished writings featuring these two enigmatic figures, W.B. Yeats's Robartes-Aherne Writings traces their history and the development of Yeats's mystical thought that culminated (twice) in the publication of his visionary work A Vision (1925, 1937). Including reproductions of manuscript and notebook pages as well as transcriptions and extracts from a wide range of Yeats's mystical writings and substantial commentary and annotation throughout, this book is an essential resource for scholars of Yeats's thought, his stylistic evolution and the esoteric influences on modernist writing in the early 20th century.

The Collected Works of W. B. Yeats, Volume X: Later Articles and Reviews is part of a fourteen-volume series under the general editorship of eminent Yeats scholars Richard J. Finneran and George Mills Harper. This first complete edition includes virtually all of the Nobel laureate's published work, in authoritative texts and with extensive explanatory notes. Later Articles and Reviews consists of fifty-four prose pieces published between 1900 and Yeats's death in January 1939 and benefits from the notes and emendations of Yeats scholar Colton Johnson. The pieces collected here are occasional, and they reflect the many interests and engagements of Yeats in his maturity. No longer a reviewer or polemicist, Yeats is an international figure: a senator in the fledgling Irish state, a defining modern poet, a distinguished essayist. And here we have him writing -- with grace, wit, and passion -- on the state of Ireland in the world, on Irish language and Irish literature, on his artistic contemporaries, on the Abbey Theater, on divorce, on censorship, on his evolution as a poet and dramatist, on his own poetry. Volume X also includes texts of ten radio programs Yeats broadcast between 1931 and 1937. This is not only the first collection but also the first printing of Yeats's radio work, which constitutes the largest previously uncollected body of his writings and possibly the most important to remain largely unstudied. Carefully assembled from manuscripts, typescripts, broadcast scripts, and fragmentary recordings, the programs range from a scripted interview on contemporary issues to elaborate stagings of his own and others' poetry. One of the radio programs is presented in an appendix complete with the commissioned musical score that set Yeats's poetry to music, Yeats's own emendations on the BBC broadcast script, and the diacritical notes with which the broadcast reader indicated Yeats's interpretive instructions. Here, then, is seasoned Yeats, writing and speaking vigorously and with keen personal insight about the modern age and his place in it.

Described as the Mona Lisa of literature and the world's first detective story, Sophocles' Oedipus the King is a major text from the ancient Greek world and an iconic work of world literature. Aristotle's favourite play, lauded by him as the exemplary Athenian tragedy, Oedipus the King has retained its power both on and off the stage. Before Freud's famous interpretation of the play - an appropriation, some might say - Hölderlin and Nietzsche recognised its unique qualities. Its literary worth is undiminished, philosophers revel in its probing into issues of freedom and necessity and Lacan has ensured its vital significance for post-Freudian psychoanalysis. This Reader's Guide begins with Oedipus as a figure from Greek mythology before focusing on fifth-century Athenian tragedy and the meaning of the drama as it develops scene by scene on the stage. The book covers the afterlife of the play in depth and provides a comprehensive guide to further reading for students.

Yeats, Philosophy, and the Occult collects seven new essays on aspects of Yeats's thought and reading, from ancient and modern philosophy and cosmological doctrines, mysticism and esoteric thought.

This volume sheds new light on a wealth of early 20th-century engagement with literature of Graeco-Roman antiquity that significantly shaped the work of anglophone literary modernism. The essays spotlight 'translation,' a concept the modernists themselves used to reckon with the Classics and to denote a range of different kinds of reception – from more literal to more liberal translation work, as well as forms of what contemporary reception studies would term 'adaptation', 'refiguration' and 'intervention.' As the volume's essays reveal, modernist 'translations' of Classical texts crucially informed the innovations of many modernists and often themselves constituted modernist literary projects. Thus the volume responds to gaps in both Classical reception and Modernist studies: essays treat a comparatively understudied area in Classical reception by reviving work in a subfield of Modernist studies relatively inactive in recent decades but enjoying renewed attention through the recent work of contributors to this volume. The volume's essays address work significantly informed by Classical materials, including Homer, Sophocles, Euripides, Sappho, Ovid, and Propertius, and approach a range of modernist writers: Pound and H.D., among the modernists best known for work engaging the Classics, as well as Cummings, Eliot, Joyce, Laura Riding, and Yeats.

This book, whose slashed part of the title refers to Allen Tate’s idea of poetic tension, “derived from lopping the prefixes off the logical terms extension and intension” (Tate 1938: 283; italics in the original; see also Markowski 2006: 140–141), addresses various dimensions of prompting and its techniques preserved in the old play scripts of the Abbey Theatre. They were both encoded inside the plots of the dramatic works and inscribed on the pages of the unique typographical, textual and graphic composite constructs. The research presented stems from an exploration of the duality of intention and tension within literary and editorial studies. The two concepts relate to the thematic dimensions (the motif of tension in literature) as well as theoretical literary and textual problems (the question of intent and intention in literary interpretation and editorial research). “Tension” and “intention” in literature have been considered in various manners depending on a given theoretical approach. Their treatment should require a specific approach and methodology if literary works – plays, to be more specific – subject to a critical and interpretative examination are encapsulated within the unique forms of manuscripts whose original function was to guide the stage managers, prompters, or actors through the complex process of rehearsing and producing dramas at the theatre.

The forty-two chapters in this book consider Yeats's early toil, his practical and esoteric concerns as his career developed, his friends and enemies, and how he was and is understood. This Handbook brings together critics and writers who have considered what Yeats wrote and how he wrote, moving between texts and their contexts in ways that will lead the reader through Yeats's multiple selves as poet, playwright, public figure, and mystic. It assembles a variety of views and adds to a sense of dialogue, the antinomian or deliberately-divided way of thinking that Yeats relished and encouraged. This volume puts that sense of a living dialogue in tune both with the history of criticism on Yeats and also with contemporary critical and ethical debates, not shirking the complexities of Yeats's more uncomfortable political positions or personal life. It provides one basis from which future Yeats scholarship can continue to participate in the fascination of all the contributors here in the satisfying difficulty of this great writer.

William Butler Yeats has cast his long shadow over the history of both modern poetry and modern Ireland for so long that his preeminence is taken for granted. Now, in the first authorized biography of Yeats to appear in over fifty years, leading Irish historian R.F. Foster travels beyond Yeats's towering image as arguably the century's greatest poet to restore a real sense of Yeats's extraordinary life as Yeats himself experienced it--what he saw, what he did, the passions and the petty squabbles that consumed him, and his alchemical ability to transmute the events of his crowded and contradictory life into enduring art. In the first volume of this long-awaited biography, Foster covers the poet's first fifty years, bringing new light to bear on Yeats's heroic and often ruthless efforts to invent himself as a poet and public figure. Drawn from a fascinating archive of personal and contemporary documents with the cooperation of surviving members of the Yeats family, it dramatically alters long-held assumptions about the poet's background, his relationship with Maud Gonne and other women, and his roles in the great cultural and political upheavals that transformed Ireland in his lifetime. A rich and entertaining account of Yeats's boyhood days amidst the talented but troubled members of the Yeats and Pollexfen clans provides important insight into the poet's deep and lifelong connection to the Irish landscape, his early, impassioned embrace of the nationalist cause, and his later retreat to the traditions of the once grand Protestant aristocracy. In his own day Yeats attracted enemies and admirers with equal passion, and Foster vividly recreates the friendships, love affairs, and simmering rivalries that swirled about the poet's circles in London, Dublin, and Coole Park. Complementing his meticulous scholarship with a shrewd wit and a novelist's eye for detail, he chronicles the romantic disappointments, financial difficulties, experimentation with hashish and mescal, and the growing preoccupation with the occult that prefaced Yeats's attempt to unite Irish politics with high culture and his creation of an Irish national theater. Here are the poet's memorable encounters with many of the most interesting people of his time, including Oscar Wilde, George Bernard Shaw, Lady Gregory, J.M. Synge, Ezra Pound, James Joyce, and the wildly diverse leaders of the Irish independence movement. And here at last is a full accounting of the complex bond between Yeats and the incomparable Maud Gonne, revealed as an influence eternally recreated 'like the phoenix,' affecting almost everything he did. Poet, playwright, mystic and revolutionary; lover, confidant, and friend. This brilliant account of the public and private lives of William Butler Yeats illuminates not only the wellspring of his artistic vision, but the modern Irish identity he helped to create. It is essential reading for anyone intrigued by one of the most original and influential voices of the twentieth century.