Education of the republic of uzbekistan navoi state pedagogical institute faculty of english and literature

Celtic Modernism: Yeats, Joyce, Jones, and MacDiarmid 
Pound, Lewis, Lawrence, and Eliot were the principal male figures of Anglo-
American Modernism, but important contributions also were made by the Irish 
poet and playwright 
William Butler Yeats
and the Irish novelist 
James Joyce
. By 
virtue of nationality, residence, and, in Yeats‘s case, an unjust reputation as a poet 
still steeped in Celtic mythology, they had less immediate impact upon the British 

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literary intelligentsia in the late 1910s and early 1920s than Pound, Lewis, 
Lawrence, and Eliot, although by the mid-1920s their influence had become direct 
and substantial. Many critics today argue that Yeats‘s work as a poet and Joyce‘s 
work as a novelist are the most important Modernist achievements of the period. 
In his early verse and 
drama
, Yeats, who had been influenced as a young 
man by the 
Romantic
and Pre-Raphaelite movements, evoked a legendary and 
supernatural 
Ireland
in language that was often vague and grandiloquent. As an 
adherent of the cause of Irish 
nationalism
, he had hoped to instill pride in the Irish 
past. The poetry of The Green Helmet (1910) and Responsibilities (1914), 
however, was marked not only by a more concrete and 
colloquial
style but also by 
a growing isolation from the nationalist movement, for Yeats celebrated an 
aristocratic Ireland epitomized for him by the family and country house of his 
friend and patron, 
Lady Gregory
.
5
The grandeur of his mature reflective poetry in 
The Wild Swans at 
Coole
(1917), 
Michael Robartes and the Dancer
(1921), 
The Tower
(1928), 
and 
The Winding Stair
(1929) derived in large measure from the way in which 
(caught up by the violent 
discords
of contemporary Irish history) he accepted the 
fact that his idealized Ireland was illusory. At its best his mature style combined 
passion and precision with powerful symbol, strong rhythm, and lucid diction; and 
even though his poetry often touched upon public themes, he never ceased to 
reflect upon the Romantic themes of creativity, selfhood, and the individual‘s 
relationship to nature, time, and history. 
Joyce, who spent his adult life on the continent of 
Europe
, expressed in 
his 
fiction
his sense of the limits and possibilities of the Ireland he had left behind. 
In his collection of short stories, 
Dubliners
(1914), and his largely autobiographical 
5
"Oscar Wilde: Selected works in two volumes." - M.: "The Republic", 1993. (Article N. Paltseva, 
Chukovskii). 

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18 
novel 
A Portrait of the Artist as a Young Man
(1916), he described in fiction at 
once realist and symbolist the individual cost of the sexual and imaginative 
oppressiveness of life in Ireland. As if by 
provocative
contrast, his panoramic 
novel of urban life, 
Ulysses
(1922), was sexually frank and imaginatively profuse. 
(Copies of the first edition were burned by the 
New York
postal authorities, and 
British customs officials seized the second edition in 1923.) Employing 
extraordinary formal and linguistic inventiveness, including the 
stream-of-
consciousness
method, Joyce depicted the experiences and the fantasies of various 
men and women in Dublin on a summer‘s day in June 1904. Yet his purpose was 
not simply documentary, for he drew upon an encyclopedic range of European 
literature to stress the rich universality of life buried beneath the provincialism of 
pre-independence Dublin, in 1904 a city still within the 
British Empire
. In his even 
more experimental Finnegans Wake (1939), extracts of which had already 
appeared as Work in Progress from 1928 to 1937, Joyce‘s commitment to cultural 
universality became absolute. By means of a strange, polyglot 
idiom
of puns 
and 
portmanteau words
, he not only explored the relationship between the 
conscious and the unconscious but also suggested that the languages and 
myths
of 
Ireland were interwoven with the languages and myths of many other 
cultures
. 

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