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- Herausgeber: DigiCat
- Kategorie: Poesie und Drama
- Sprache: Englisch
In "The King's Threshold; and On Baile's Strand," W. B. Yeats employs a lyrical and evocative dramatic style marked by rich imagery and emotional resonance. These plays delve into themes of power, sacrifice, and the intersection of personal ambition and societal duty, showcasing Yeats's mastery of symbolic representation and his exploration of Irish myth and folklore. Set against the backdrop of the Irish literary revival, this collection illustrates Yeats's quest to merge the personal with the political, reflecting the tensions of identity and culture that characterized early 20th-century Ireland. W. B. Yeats, one of the foremost figures of 20th-century literature, was deeply influenced by his experiences with Irish nationalism and the cultural renaissance of his time. Born into an Anglo-Irish family, his writings often grapple with the tensions of identity and heritage, drawing from both classical and folkloric traditions. His involvement in the Abbey Theatre and interest in mystical and spiritual themes also informed his dramatic works, imbuing them with a profound sense of urgency and depth. This collection is essential reading for those interested in the interplay of drama and national identity, as well as an exploration of human psychology through the lens of myth. Yeats's plays invite readers to engage with the complexities of the human experience, making "The King's Threshold; and On Baile's Strand" a timeless work that resonates deeply with contemporary issues of authority and sacrifice.
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Veröffentlichungsjahr: 2022
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The King's Threshold; and On Baile's Strand
Table of Contents
THE KING’S THRESHOLD
LIST OF CHARACTERS
King Guaire.
The Chamberlain of King Guaire.
A Soldier.
A Monk.
The Mayor of Kinvara.
A Cripple.
Another Cripple.
Aileen
,
}
Ladies of the Court.
Essa
,
Princess Buan.
Princess Finnhua
, her Sister.
Fedelm
, Seanchan’s Sweetheart.
Cian
,
}
Servants of Seanchan.
Brian
,
Senias
,
}
Pupils of Seanchan.
Arias
,
Seanchan
(pronounced Shanahan), Chief Poet of Ireland.
Pupils, Courtiers.
A PROLOGUE.[1]
An Old Man with a red dressing-gown, red slippers and red nightcap, holding a brass candlestick with a guttering candle in it, comes on from side of stage and goes in front of the dull green curtain.
I’ve got to speak the prologue. [He shuffles on a few steps.] My nephew, who is one of the play actors, came to me, and I in my bed, and my prayers said, and the candle put out, and he told me there were so many characters in this new play, that all the company were in it, whether they had been long or short at the business, and that there wasn’t one left to speak the prologue. Wait a bit, there’s a draught here. [He pulls the curtain closer together.] That’s better. And that’s why I’m here, and maybe I’m a fool for my pains.
And my nephew said, there are a good many plays to be played for you, some to-night and some on other nights through the winter, and the most of them are simple enough, and tell out their story to the end. But as to the big play you are to see to-night, my nephew taught me to say what the poet had taught him to say about it. [Puts down candlestick and puts right finger on left thumb.] First, he who told the story of Seanchan on King Guaire’s threshold long ago in the old books told it wrongly, for he was a friend of the king, or maybe afraid of the king, and so he put the king in the right. But he that tells the story now, being a poet, has put the poet in the right.
And then [touches other finger] I am to say: Some think it would be a finer tale if Seanchan had died at the end of it, and the king had the guilt at his door, for that might have served the poet’s cause better in the end. But that is not true, for if he that is in the story but a shadow and an image of poetry had not risen up from the death that threatened him, the ending would not have been true and joyful enough to be put into the voices of players and proclaimed in the mouths of trumpets, and poetry would have been badly served.
[He takes up the candlestick again.
And as to what happened Seanchan after, my nephew told me he didn’t know, and the poet didn’t know, and it’s likely there’s nobody that knows. But my nephew thinks he never sat down at the king’s table again, after the way he had been treated, but that he went to some quiet green place in the hills with Fedelm, his sweetheart, where the poor people made much of him because he was wise, and where he made songs and poems, and it’s likely enough he made some of the old songs and the old poems the poor people on the hillsides are saying and singing to-day.
[A trumpet-blast.
Well, it’s time for me to be going. That trumpet means that the curtain is going to rise, and after a while the stage there will be filled up with great ladies and great gentlemen, and poets, and a king with a crown on him, and all of them as high up in themselves with the pride of their youth and their strength and their fine clothes as if there was no such thing in the world as cold in the shoulders, and speckled shins, and the pains in the bones and the stiffness in the joints that make an old man that has the whole load of the world on him ready for his bed.
[He begins to shuffle away, and then stops.
And it would be better for me, that nephew of mine to be thinking less of his play-acting, and to have remembered to boil down the knap-weed with a bit of three-penny sugar, for me to be wetting my throat with now and again through the night, and drinking a sup to ease the pains in my bones.
[He goes out at side of stage.
THE KING’S THRESHOLD.
Scene: Steps before the Palace of King Guaire at Gort. A table in front of steps to right with food on it. Seanchan lying on steps to left. Pupils before steps. King on top of steps at centre.
