By George M Harper
According to Yeats, his spouse shocked him on 24 October 1917, 4 days after their marriage, “by trying automated writing.” Excited, he provided to spend the rest of his existence organizing and explaining the “scattered sentences.” Over a interval of roughly 30 months they collaborated in 450 sittings, he asking questions, she responding to fill a complete of greater than 3,600 pages.
Quoting copiously from the Script, Harper has traced in volumes those brilliant experiments daily because the Yeatses moved approximately England, eire, and the US. He has additionally stated countless numbers of parallel explanatory passages from many workbooks, notebooks, and the concordance prepared like a card index within which Yeats codified the process he projected in A imaginative and prescient and a variety of poems and performs. Harper additionally has tested the large own revelations that have been excluded from A imaginative and prescient and conscientiously hid in lots of passages of “personal Script.” As Professor Harper demonstrates, Yeats had those frequently indirect, hugely allusive passages in brain while he admitted “To Vestigia” that he had “not even handled the full of my topic, possibly now not despite what's most vital, writing not anything in regards to the Beatific imaginative and prescient, little of sexual love.”
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In accordance with Yeats, his spouse shocked him on 24 October 1917, 4 days after their marriage, “by making an attempt automated writing. ” Excited, he provided to spend the rest of his existence organizing and explaining the “scattered sentences. ” Over a interval of roughly 30 months they collaborated in 450 sittings, he asking questions, she responding to fill a complete of greater than 3,600 pages.
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Additional resources for The Making of Yeats’s A Vision: A Study of the Automatic Script Volume 1
2. What quality in the Anima Mundi compels that relationship? 27 The Control chose to "answer the second question first because it is the most important": It is the purely instinctive & cosmic quality in man which seeks completion in its opposite which is sought by the subconscious self in anima mundi to use your own term while it is the conscious mind that makes the Ep (Evil Persona) in consciously seeking its opposite & then emulating it The remainder of the day's Script (nine pages) is devoted to this abstract explanation, concluding with suggestions which relate it to both Iseult and George.
At any rate, when Yeats and George returned to Stone Cottage, they were firmly committed to continued experimentation. On 20 November, probably the day of arrival, they conducted a long and well-structured exchange which is notable for a new firmness and a new format. They began the practice, followed with few exceptions for many months, of recording the questions in one book and the answers in another. Although there are personal overtones and allusions, Yeats is now seeking resolutely to explore the universal rather than the particular.
The remainder of the AS of 11 November attempts to relate beauty and ugliness to genius and all three to Antithetical and Primary. As he reread this discussion sometime later, Yeats placed a large X beside three of the answers. One line of the answer he obviously considered most important was underlined with the same broad pen used for the X: Genius cannot be allied with beauty because if the primary is the tempter it reverses the roles of E[vil] P[ersona] & artistic self- the AS then is the conquering of the anti by the primary therefore the anti cannot be the inspiration and cannot either use the primary as an instrument of outward expression & therefore physical beauty is the expression it takes This answer to a man with an Antithetical nature is puzzling until we recall that Yeats had been warned by the Communicator as well as Ch.