By Richard H Taylor
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Additional resources for A Reader’s Guide to the Plays of W. B. Yeats
It is a mistake you are making, rna' am, it is not asking anything I am. It is giving I am more used to. I was never in a house yet but there would be a welcome for me in it again. 241) Tramp. The tramp's gift for language seduces Sibby and provides the magical element within the aesthetic structure of the play which lends both the illusion and authority of reality to the action. The tramp's songs are also well integrated into the action and provide the intensity and transcendence of poetry so much a part of Early Plays 41 Yeats's developing dramatic method.
P. 55) Aleel. Somewhere between the two extremes the other characters find a style of speaking suited to both their particular function in the drama and the consistency of lyrical effect which unifies the whole. In effect the language of the play imitates reality but with Early Plays 29 sufficient stylisation to distance the action from the reality of everyday life in order to suggest a deeper meaning behind it. The stage setting which Yeats used for his own production was also highly stylised.
When the hen's gone, What can we do but live on sorrel and dock, And dandelion, till our mouths are green? Shemus. Mary. God, that to this hour has found bit and sup, Will cater for us still. His kitchen's bare. There were five doors that I looked through this day And saw the dead and not a soul to wake them. (p. 13) Shemus. The heroic characters, on the other hand, speak a more formal and elevated language in which the basic poetic rhythms so carefully subordinated and camouflaged in the peasant speeches, are allowed to intensify and predominate.
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