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    The Falconer is Dead: Reassessing Representations of Eternal Recurrence.


    Fogarty, Matthew (2022) The Falconer is Dead: Reassessing Representations of Eternal Recurrence. International Yeats Studies, 6 (1). ISSN 2475-9627

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    Abstract

    I n a letter addressed to Lady Gregory on December 26, 1902, William Butler Yeats first acknowledged the onset of what would become a lifelong fascination with Friedrich Nietzsche’s philosophy: “Dear Friend,” he confesses: I have written to you little and badly of late I am afraid for the truth is you have a rival in Nietzsche, the strong enchanter. I have read him so much that I have made my eyes bad again. They were getting well it seemed. Nietzsche completes Blake & has the same roots—I have not read anything with so much excitement, since I got to love Morris’s stories which have the same curious astringent joy (CL3 284) Less than three months later, Yeats expressed comparable sentiments to the New York lawyer, John Quinn, who had recently gifted him all of the available English translations of Nietzsche’s books: I do not know how I can thank you too much for the three volumes on Nietzsche. I had never read him before, but find that I had come to the same conclusions on several cardinal matters. He is exaggerated and violent but has helped me very greatly to build up in my mind an imagination of the heroic life. His books have come to me at exactly the right moment, for I have planned out a series of plays which are all intended to be an expression of that life which seem[s] to me the kind of proud hard gift giving joyousness (CL3 313)

    Item Type: Article
    Keywords: Falconer is Dead; Reassessing Representations; Eternal Recurrence;
    Academic Unit: Faculty of Social Sciences > Adult and Community Education
    Item ID: 18500
    Depositing User: Matthew Fogarty
    Date Deposited: 13 May 2024 11:14
    Journal or Publication Title: International Yeats Studies
    Publisher: Clemson University
    Refereed: Yes
    URI:
    Use Licence: This item is available under a Creative Commons Attribution Non Commercial Share Alike Licence (CC BY-NC-SA). Details of this licence are available here

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