title: Jason Voorhees

text: In 2005, California State University's Media Psychology Lab surveyed 1,166 people Americans aged from 16 to 91 on the psychological appeal of movie monsters. Many of the characteristics associated with Jason Voorhees were appealing to the participants. In the survey, Jason was considered to be an "unstoppable killing machine." Participants were impressed by the "cornucopic feats of slicing and dicing a seemingly endless number of adolescents and the occasional adult." Out of the ten monsters used in the survey—which included vampires, Freddy Krueger, Frankenstein's monster, Michael Myers, Godzilla, Chucky, Hannibal Lecter, King Kong and the Alien—Jason scored the highest in all the categories involving killing variables. Further characteristics that appealed to the participants included Jason's "immortality, his apparent enjoyment of killing [and] his superhuman strength."


title: Jason Voorhees

text: Jason Voorhees is one of the leading cultural icons of American popular culture. In 1992 Jason was awarded the MTV Lifetime Achievement Award. He was the first of only three completely fictional characters to be presented the award; Godzilla (1996) and Chewbacca (1997) are the others. Jason was named No. 26 in "Wizard" magazine's "100 greatest villains of all time". Universal Studios theme parks, in collaboration with New Line Cinema, used the character for their Halloween Horror Nights event. In June 2020, Jason appears in a PSA to encourage people to wear a mask during the COVID-19 pandemic. In October 2021, "IGN" named Jason the "Greatest Movie Slasher of All Time", while Scott Gleeson of "USA Today" named Jason the 2nd most "haunting horror movie villain". "Red Bull" called Jason as one of the scariest video game villains of all time, because "playing as Jason is loads of fun, but having to run and hide from him is as exhilarating as it is terrifying."


title: Jason Voorhees

text: The character has been produced and marketed as merchandise over the years. In 1988 Screamin' Toys produced a model kit where owners could build their own Jason statuette. The kit required the owner to cut and paint various parts in order to assemble the figure. Six years later, Screamin' Toys issued a new model kit for "Jason Goes to Hell". Both kits are now out of production. McFarlane Toys released two toy lines, one in 1998 and the other in 2002. The first was a figure of Jason from "Jason Goes to Hell", and the other was of Über-Jason from "Jason X". Since McFarlane's last toy line in 2002, there has been a steady production of action figures, dolls, and statuettes. These include tie-ins with the film "Freddy vs. Jason" (2003). In April 2010 Sideshow Toys released a polystone statue of Jason, based on the version appearing in the 2009 remake. NECA and Mezco Toyz also released figures of Jason in its own action figure series.


title: Jason Voorhees

text: The character has been referenced, or made cameo appearances, in various entertainment mediums. Outside of literature sources based on the character, Jason has been featured in a variety of magazines and comic strips. "Cracked" magazine has released several issues featuring parodies of Jason, and he has been featured on two of their covers. "Mad" magazine has featured the character in almost a dozen stories. He has appeared twice in the comic strip "Mother Goose and Grimm". The "Usagi Yojimbo" antagonist Jei is based on Voorhees; his name, with the honorific "-san" attached, is in fact a pun on Voorhees' first name.


title: Jason Voorhees

text: Many musical artists have made references to Jason Voorhees. Inspired by his own experience, Ari Lehman founded a band called "First Jason". Lehman's band is classified as horror punk, and is influenced by the sounds of the Dead Kennedys and the Misfits. The band's name pays homage to Lehman's portrayal of Jason Voorhees in the original "Friday the 13th". One of the band's songs is entitled "Jason is Watching". In 1986, coinciding with the release of "Jason Lives", Alice Cooper released "He's Back (The Man Behind the Mask)" from his album "Constrictor". The song was written to "signal Jason's big return" to cinema, as he had been almost entirely absent in the previous film in the series. Rapper Eminem has referenced Jason in several of his songs. The song "Criminal", from the album "The Marshall Mathers LP", mentions Jason specifically, while songs "Amityville" and "Off the Wall"—the latter featured fellow rapper Redman—contain Harry Manfredini's music "ki, ki, ki ... ma, ma, ma" from the film series. Eminem sometimes wears a hockey mask during concerts. Other rap artists that have referenced Jason include Tupac Shakur, Dr. Dre, LL Cool J, and Insane Clown Posse. In 1989, Puerto Rican rapper Vico C had a song titled "Viernes 13" which featured Jason in Puerto Rico. The song was so popular in the island that Vico C wrote a second part titled "Viernes 13, Parte II". VH1 issued an advertisement for their Vogue Fashion Awards which was labeled "Friday the 20th", and featured Jason's mask created out of rhinestone.


title: Jason Voorhees

text: Jason has been referenced or parodied in other films. The 1988 British film "Unmasked Part 25", whose title lampoons the high number of installments in slasher film series like "Friday the 13th", features a hockey mask-wearing serial killer named Jackson who grows tired of his routine murder sprees and develops a romance with a young woman. In the 1996 film "Scream", directed by "Elm Street" creator Wes Craven, actress Drew Barrymore's character is being stalked by a killer who calls her on her home phone. In order to survive, she must answer the man's trivia questions. One question is "name the killer in "Friday the 13th"." She incorrectly guesses Jason, who did not become the killer for the film series until "Part 2". Writer Kevin Williamson claimed his inspiration for this scene came when he asked this question in a bar while a group was playing a movie trivia quiz game. He received a free drink, because nobody got the answer right. In another Wes Craven film, "Cursed", a wax sculpture of Jason, from "Jason Goes to Hell", can be seen in a wax museum. In 2014, Jason made a cameo appearance in the RadioShack Super Bowl XLVIII commercial "The '80s Called".


title: Jason Voorhees

text: Jason has also been referenced by several television shows. The stop motion animated television series "Robot Chicken" features Jason in three of its comedy sketches. In episode seventeen, "", the mystery-solving teenagers from "Scooby-Doo" arrive at Camp Crystal Lake to investigate the Jason Voorhees murders, and are killed off one by one as well as killing Don Knotts. Velma is the only survivor, and in typical Scooby-Doo fashion, she rips off Jason's mask to reveal his true identity: Old Man Phillips. In "That Hurts Me", Jason reappears, this time as a housemate of "Horror Movie Big Brother", alongside other famous slasher movie killers such as Michael Myers, Freddy Krueger, Leatherface, Pinhead and Ghostface. Three years later, in episode sixty-two, Jason is shown on the days before and after a typical "Friday the 13th". Jason is spoofed in the season five episode of "Family Guy" entitled "It Takes a Village Idiot, and I Married One". The so-called "Mr. Voorhees" explains to Asian reporter Trisha Takanawa how happy he is to see local wildlife return following the cleanup and rejuvenation of Lake Quahog. He reappears later in the episode as the manager of the "Britches and Hose" clothing store. As opposed to his monstrous personality in the films, Jason is depicted here as polite and articulate, albeit still a psychopath; he murders random swimmers and threatens to kill his employee if she screws up. In an episode of "The Simpsons", Jason appears in a Halloween episode sitting on the couch with Freddy Krueger waiting for the family to arrive. When Freddy asks where the family is, Jason responds, "Ehh, whaddya gonna do?" and turns the TV on. He also appears in "The Simpsons" episode "Stop, or My Dog Will Shoot!", alongside Pinhead, menacing Bart in a fantasy sequence. The "South Park" episodes "Imaginationland Episode II" and "III" feature Jason among an assortment of other villains and monsters as an inhabitant of the "bad side" of Imaginationland, a world populated by fictional characters. This version of Jason has an effeminate voice and describes the removal of Strawberry Shortcake's eyeball as "super hardcore". Experimental pop artist Eric Millikin created a large mosaic portrait of Jason Voorhees out of Halloween candy and spiders as part of his "Totally Sweet" series in 2013.


title: Wild Bill Hickok

text: James Butler Hickok (May 27, 1837August 2, 1876), better known as "Wild Bill" Hickok, was a folk hero of the American Old West known for his life on the frontier as a soldier, scout, lawman, gambler, showman, and actor, and for his involvement in many famous gunfights. He earned a great deal of notoriety in his own time, much of it bolstered by the many outlandish and often fabricated tales he told about himself. Some contemporaneous reports of his exploits are known to be fictitious, but they remain the basis of much of his fame and reputation.


title: Wild Bill Hickok

text: Hickok was born and raised on a farm in northern Illinois at a time when lawlessness and vigilante activity were rampant because of the influence of the "Banditti of the Prairie". Drawn to this ruffian lifestyle, he headed west at age 18 as a fugitive from justice, working as a stagecoach driver and later as a lawman in the frontier territories of Kansas and Nebraska. He fought and spied for the Union Army during the American Civil War and gained publicity after the war as a scout, marksman, actor, and professional gambler. He was involved in several notable shootouts during the course of his life.


title: Wild Bill Hickok

text: In 1876, Hickok was shot and killed while playing poker in a saloon in Deadwood, Dakota Territory (present-day South Dakota) by Jack McCall, an unsuccessful gambler. The hand of cards which he supposedly held at the time of his death has become known as the dead man's hand: two pairs; black aces and eights.


title: Wild Bill Hickok

text: Hickok remains a popular figure of frontier history. Many historic sites and monuments commemorate his life, and he has been depicted numerous times in literature, film, and television. He is chiefly portrayed as a protagonist, although historical accounts of his actions are often controversial, and much of his career is known to have been exaggerated both by himself and by contemporary mythmakers. While Hickok claimed to have killed numerous named and unnamed gunmen in his lifetime, his career as a gunfighter only lasted from 1861 to 1871. According to Joseph G. Rosa, Hickok's biographer and the foremost authority on Wild Bill, Hickok killed only six or seven men in gunfights.


title: Wild Bill Hickok

text: James Butler Hickok was born May 27, 1837, in Homer, Illinois, (present-day Troy Grove, Illinois) to William Alonzo Hickok, a farmer and abolitionist, and his wife, Polly Butler. Hickok was of English ancestry. James was the fourth of six children. His father was said to have used the family house, now demolished, as a station on the Underground Railroad. William Hickok died in 1852, when James was 15.


title: Wild Bill Hickok

text: Hickok was a good shot from a young age, and was recognized locally as an outstanding marksman with a pistol. Photographs of Hickok appear to depict dark hair, but all contemporaneous descriptions affirm that it was red.


title: Wild Bill Hickok

text: In 1855, at age 18, James Hickok fled Illinois following a fight with Charles Hudson, during which both fell into a canal; each thought, mistakenly, that he had killed the other. Hickok moved to Leavenworth in the Kansas Territory, where he joined Jim Lane's Free State Army (also known as the Jayhawkers), an antislavery vigilante group active in the new territory during the Bleeding Kansas era. While a Jayhawker, he met 12-year-old William Cody (later known as "Buffalo Bill"), who, despite his youth, served as a scout just two years later for the U.S. Army during the Utah War.


title: Wild Bill Hickok

text: Hickok used his late father's name, William Hickok, from 1858, and the name William Haycock during the American Civil War. Most newspapers referred to him as William Haycock until 1869. He was arrested while using the name Haycock in 1865. He afterward resumed using his given name, James Hickok. Military records after 1865 list him as Hickok, but note that he was also known as Haycock. In an 1867 article about his shootout with Davis Tutt, his surname was misspelled as Hitchcock.


title: Wild Bill Hickok

text: While in Nebraska, Hickok was derisively referred to by one man as "Duck Bill" for his long nose and protruding lips. He was also known before 1861 among Jayhawkers as "Shanghai Bill" because of his height and slim build. He grew a moustache following the McCanles incident, and in 1861 began calling himself "Wild Bill".


title: Wild Bill Hickok

text: In 1857, Hickok claimed a tract in Johnson County, Kansas, near present-day Lenexa. On March 22, 1858, he was elected one of the first four constables of Monticello Township. In 1859, he joined the Russell, Majors and Waddell freight company, the parent company of the Pony Express.


title: Wild Bill Hickok

text: In 1860, Hickok was badly injured, possibly by a bear, while driving a freight team from Independence, Missouri, to Santa Fe, New Mexico. According to Hickok's account, he found the road blocked by a cinnamon bear and its two cubs. Dismounting, he approached the bear and fired a shot into its head, but the bullet ricocheted off its skull, infuriating it. The bear attacked, crushing Hickok with its body. Hickok managed to fire another shot, wounding the bear's paw. The bear then grabbed his arm in its mouth, but Hickok was able to grab his knife and slash its throat, killing it.


title: Wild Bill Hickok

text: Hickok was severely injured, with a crushed chest, shoulder, and arm. He was bedridden for four months before being sent to Rock Creek Station in the Nebraska Territory to work as a stable hand while he recovered. There, the freight company had built a stagecoach stop along the Oregon Trail near Fairbury, Nebraska, on land purchased from David McCanles.


title: Wild Bill Hickok

text: On July 12, 1861, David McCanles went to the Rock Creek Station office to demand an overdue property payment from Horace Wellman, the station manager. McCanles reportedly threatened Wellman, and either Wellman or Hickok, who was hiding behind a curtain, killed McCanles. Hickok, Wellman, and another employee, J.W. Brink, were tried for killing McCanles, but were found to have acted in self-defense. McCanles may have been the first man Hickok killed. Hickok subsequently visited McCanles' widow, apologized for the killing, and offered her $35 in restitution, all the money he had with him at the time.


title: Wild Bill Hickok

text: After the Civil War broke out in April 1861, Hickok became a teamster for the Union Army in Sedalia, Missouri. By the end of 1861, he was a wagon master, but in September 1862, he was discharged for unknown reasons. He then joined General James Henry Lane's Kansas Brigade, and while serving with the brigade, saw his friend Buffalo Bill Cody, who was serving as a scout.


title: Wild Bill Hickok

text: In late 1863, Hickok worked for the provost marshal of southwest Missouri as a member of the Springfield detective police. His work included identifying and counting the number of troops in uniform who were drinking while on duty, verifying hotel liquor licenses, and tracking down individuals who owed money to the cash-strapped Union Army.


title: Wild Bill Hickok

text: Buffalo Bill claimed that he encountered Hickok disguised as a Confederate officer in Missouri in 1864. Hickok had not been paid for some time, and was hired as a scout by General John B. Sanborn by early 1865. In June, Hickok mustered out and went to Springfield, where he gambled. The 1883 "History of Greene County, Missouri" described him as "by nature a ruffian ... a drunken, swaggering fellow, who delighted when 'on a spree' to frighten nervous men and timid women."


title: Wild Bill Hickok

text: While in Springfield, Hickok and a local gambler named Davis Tutt had several disagreements over unpaid gambling debts and their common affection for the same women. Hickok lost a gold watch to Tutt in a poker game. The watch had great sentimental value to Hickok, so he asked Tutt not to wear it in public. They initially agreed not to fight over the watch, but when Hickok saw Tutt wearing it, he warned him to stay away. On July 21, 1865, the two men faced off in Springfield's town square, standing sideways before drawing and firing their weapons. Their quick-draw duel was recorded as the first of its kind. Tutt's shot missed, but Hickok's struck Tutt through the heart from about away. Tutt called out, "Boys, I'm killed", before he collapsed and died.


title: Wild Bill Hickok

text: Two days later, Hickok was arrested for murder. The charge was later reduced to manslaughter. He was released on $2,000 bail and stood trial on August 3, 1865. At the end of the trial, Judge Sempronius H. Boyd told the jury they could not find Hickok acted in self-defense if he could have reasonably avoided the fight. However, if they felt the threat of danger was real and imminent, he instructed they could apply the unwritten law of the "fair fight" and acquit. The jury voted to clear Hickok, resulting in public backlash and criticism of the verdict.


title: Wild Bill Hickok

text: Several weeks later, an interview Hickok gave to Colonel George Ward Nichols, a journalist who subsequently became known as the creator of the Hickok legend, was published in "Harper's New Monthly Magazine". Under the name "Wild Bill Hitchcock", the article recounted the "hundreds" of men whom Hickok had personally killed and other exaggerated exploits. The article was controversial wherever Hickok was known, and several frontier newspapers wrote rebuttals.


title: Wild Bill Hickok

text: In September 1865, Hickok came in second in the election for city marshal of Springfield. Leaving Springfield, he was recommended for the position of deputy federal marshal at Fort Riley, Kansas. This was during the Indian Wars, in which Hickok sometimes served as a scout for General George A. Custer's 7th Cavalry.


title: Wild Bill Hickok

text: In 1865, Hickok recruited six Native Americans and three cowboys to accompany him to Niagara Falls, where he put on an outdoor demonstration called "The Daring Buffalo Chasers of the Plains". Since the event was outdoors, he could not compel people to pay, and the venture was a financial failure. The show featured six buffalo, a bear, and a monkey, and one show ended in disaster when a buffalo refused to act, prompting Hickok to fire a bullet into the sky. This angered the buffalo and panicked audience members, causing the animals to break free of their wire fencing and chase audience members, some of whom were trampled. The incident helped contribute to the overall failure of the show.


title: Wild Bill Hickok

text: Henry M. Stanley, of the "Weekly Missouri Democrat", reported Hickok to be "an inveterate hater of Indian People", perhaps to enhance his reputation as a scout and American fighter, but separating fact from fiction is difficult considering his recruitment of Indians to cross the nation to appear in his own Wild West show. Witnesses confirm that while working as a scout at Fort Harker, Kansas, on May 11, 1867, Hickok was attacked by a large group of Indians, who fled after he shot and killed two. In July, Hickok told a newspaper reporter that he had led several soldiers in pursuit of Indians who had killed four men near the fort on July 2. He reported returning with five prisoners after killing 10. Witnesses confirm that the story was true to the extent the party had set out to find whoever had killed the four men, but the group returned to the fort "without nary a dead Indian, [never] even seeing a live one".


title: Wild Bill Hickok

text: In December 1867, newspapers reported that Hickok had come to stay in Hays City, Kansas. He became a deputy U.S. marshal, and on March 28, 1868, he picked up 11 Union Army deserters who had been charged with stealing government property. Hickok was assigned to bring the men to Topeka for trial, and he requested a military escort from Fort Hays. He was assigned Buffalo Bill Cody, a sergeant, and five privates. They arrived in Topeka on April 2. Hickok remained in Hays through August 1868, when he brought 200 Cheyenne Indians to Hays to be viewed by "excursionists".


title: Wild Bill Hickok

text: On September 1, 1868, Hickok was in Lincoln County, Kansas, where he was hired as a scout by the 10th Cavalry Regiment, a segregated African-American unit. On September 4, Hickok was wounded in the foot while rescuing several cattlemen in the Bijou Creek basin who had been surrounded by Indians. The 10th Regiment arrived at Fort Lyon in Colorado in October and remained there for the rest of 1868.


title: Wild Bill Hickok

text: In July 1869, Hickok returned to Hays and was elected city marshal of Hays and sheriff of Ellis County, Kansas, in a special election held on August 23, 1869. Three sheriffs had quit during the previous 18 months. Hickok may have been acting sheriff before he was elected; a newspaper reported that he arrested offenders on August 18, and the commander of Fort Hays wrote a letter to the assistant adjutant general on August 21 in which he praised Hickok for his work in apprehending deserters.


title: Wild Bill Hickok

text: The regular county election was held on November 2, 1869. Hickok ran as an Independent; but lost to his deputy, Peter Lanihan, who ran as a Democrat. Hickok and Lanihan, however, remained sheriff and deputy, respectively. Hickok accused a J.V. Macintosh of irregularities and misconduct during the election. On December 9, Hickok and Lanihan both served legal papers on Macintosh, and local newspapers acknowledged that Hickok had guardianship of Hays City.


title: Wild Bill Hickok

text: In September 1869, his first month as sheriff, Hickok killed two men. The first was Bill Mulvey, who was rampaging through town, drunk, shooting out mirrors and whisky bottles behind bars. Citizens warned Mulvey to behave, because Hickok was sheriff. Mulvey angrily declared that he had come to town to kill Hickok. When he saw Hickok, he leveled his cocked rifle at him. Hickok waved his hand past Mulvey at some onlookers and yelled, "Don't shoot him in the back; he is drunk." Mulvey wheeled his horse around to face those who might shoot him from behind, and before he realized he had been fooled, Hickok shot him through the temple.


title: Wild Bill Hickok

text: The second killed by Hickok was Samuel Strawhun, a cowboy, who was causing a disturbance in a saloon at 1:00 am on September 27, when Hickok and Lanihan went to the scene. Strawhun "made remarks against Hickok", and Hickok killed him with a shot through the head. Hickok said he had "tried to restore order". At the coroner's inquest into Strawhun's death, despite "very contradictory" evidence from witnesses, the jury found the shooting justifiable.


title: Wild Bill Hickok

text: On July 17, 1870, Hickok was attacked by two troopers from the 7th U.S. Cavalry, Jeremiah Lonergan and John Kyle (sometimes spelled Kile), in a saloon. Lonergan pinned Hickok to the ground, and Kyle put his gun to Hickok's ear. When Kyle's weapon misfired, Hickok shot Lonergan, wounding him in the knee, and shot Kyle twice, killing him. Hickok lost his re-election bid to his deputy.


title: Wild Bill Hickok

text: On April 15, 1871, Hickok became marshal of Abilene, Kansas. He replaced Tom "Bear River" Smith, who had been killed while serving an arrest warrant on November 2, 1870.


title: Wild Bill Hickok

text: Outlaw John Wesley Hardin arrived in Abilene at the end of a cattle drive in early 1871. Hardin was a well-known gunfighter, and is known to have killed more than 27 men. In his 1895 autobiography, published after his death, Hardin claimed to have been befriended by Hickok, the newly elected town marshal, after he had disarmed the marshal using the road agent's spin, but Hardin was known to exaggerate. In any case, Hardin appeared to have thought highly of Hickok.


title: Wild Bill Hickok

text: Hickok later said he did not know that "Wesley Clemmons" was Hardin's alias, and that he was a wanted outlaw. He told Clemmons (Hardin) to stay out of trouble in Abilene and asked him to hand over his guns, and Hardin complied. Hardin alleged that when his cousin, Mannen Clements, was jailed for the killing of two cowhands (Joe and Dolph Shadden) in July 1871, Hickok—at Hardin's request—arranged for his escape.


title: Wild Bill Hickok

text: In August 1871, Hickok sought to arrest Hardin for killing Charles Couger in an Abilene hotel "for snoring too loud". Hardin left Kansas before Hickok could arrest him. A newspaper reported, "A man was killed in his bed at a hotel in Abilene, Monday night, by a desperado called Arkansas. The murderer escaped. This was his sixth murder."


title: Wild Bill Hickok

text: Hickok and Phil Coe, a saloon owner and acquaintance of Hardin's, had a dispute that resulted in a shootout. The Bull's Head Saloon in Abilene had been established by gambler Ben Thompson and Coe, his partner, businessman, and fellow gambler. The two entrepreneurs had painted a picture of a bull with a large erect penis on the side of their establishment as an advertisement. Citizens of the town complained to Hickok, who requested that Thompson and Coe remove the image. They refused, so Hickok altered it himself. Infuriated, Thompson tried to incite John Wesley Hardin to kill Hickok by exclaiming to Hardin that "He's a damn Yankee. Picks on rebels, especially Texans, to kill." Hardin was in town under his assumed name Wesley Clemmons, but was better known to the townspeople by the alias "Little Arkansas". He seemed to have respect for Hickok's abilities and replied, "If Bill needs killing, why don't you kill him yourself?" Hoping to intimidate Hickok, Coe allegedly stated that he could "kill a crow on the wing". Hickok's retort is one of the West's most famous sayings (though possibly apocryphal): "Did the crow have a pistol? Was he shooting back? I will be."


title: Wild Bill Hickok

text: On October 5, 1871, Hickok was standing off a crowd during a street brawl when Coe fired two shots. Hickok ordered him to be arrested for firing a pistol within the city limits. Coe claimed that he was shooting at a stray dog, and then suddenly turned his gun on Hickok, who fired first and killed Coe. In another account of the Coe shootout: Theophilus Little, the mayor of Abilene and owner of the town's lumber yard, recorded his time in Abilene by writing in a notebook, which was ultimately given to the Abilene Historical Society. Writing in 1911, he detailed his admiration for Hickok and included a paragraph on the shooting that differs considerably from the reported account:


title: Wild Bill Hickok

text: After shooting Coe, Hickok caught a glimpse of someone running toward him and quickly fired two more shots in reaction, accidentally shooting and killing Abilene Special Deputy Marshal Mike Williams, who was coming to his aid. This was the last time Hickok was ever involved in a gunfight; the accidental death of Deputy Williams was an event that haunted Hickok for the remainder of his life.


title: Wild Bill Hickok

text: Hickok was relieved of his duties as marshal less than two months after the accidental shooting, this incident being only one of a series of questionable shootings and claims of misconduct during his career.


title: Wild Bill Hickok

text: In 1873, Buffalo Bill Cody and Texas Jack Omohundro invited Hickok to join their troupe after their earlier success. Hickok did not enjoy acting, and often hid behind scenery. In one show, he shot the spotlight when it focused on him. He was released from the group after a few months.


title: Wild Bill Hickok

text: In 1876, Hickok was diagnosed by a doctor in Kansas City, Missouri, with glaucoma and ophthalmia. Although he was just 39, his marksmanship and health were apparently in decline, and he had been arrested several times for vagrancy, despite earning a good income from gambling and displays of showmanship only a few years earlier.


title: Wild Bill Hickok

text: From 1871 until his death in 1876, Hickok had vision problems. A former cavalryman, J.W. "Doc" Howard, who had known Hickok, stated that Hickok had left Buffalo Bill's Wild West Exhibition "because the lights affected his eyes, so he had to give it up".


title: Wild Bill Hickok

text: Charles Snyder, the Lucien Howe Librarian of Ophthalmology at Harvard Medical School, said "Granular conjunctivitis, ophtalmia, trachoma—call it what you will—was common on the Western Frontier. Jesse James suffered from it."


title: Wild Bill Hickok

text: On March 5, 1876, Hickok married Agnes Thatcher Lake, a 50-year-old circus proprietor in Cheyenne, Wyoming Territory. Hickok left his new bride a few months later, joining Charlie Utter's wagon train to seek his fortune in the gold fields of South Dakota.


title: Wild Bill Hickok

text: Shortly before his death, Hickock wrote a letter to his new wife, which read in part, "Agnes Darling, if such should be we never meet again, while firing my last shot, I will gently breathe the name of my wife—Agnes—and with wishes even for my enemies I will make the plunge and try to swim to the other shore."


title: Wild Bill Hickok

text: Martha Jane Cannary, known popularly as Calamity Jane, claimed in her autobiography that she was married to Hickok and had divorced him so he could be free to marry Agnes Lake, but no records that support her account have been found. The two possibly met for the first time after Jane was released from the guardhouse in Fort Laramie and joined the wagon train in which Hickok was traveling. The wagon train arrived in Deadwood in July 1876. Jane confirmed this account in an 1896 newspaper interview, although she claimed she had been hospitalized with illness rather than in the guardhouse.


title: Wild Bill Hickok

text: On August 1, 1876, Hickok was playing poker at Nuttal & Mann's Saloon No. 10 in Deadwood, Dakota Territory. When a seat opened up at the table, a drunk man named Jack McCall sat down to play. McCall lost heavily. Hickok encouraged McCall to quit the game until he could cover his losses and offered to give him money for breakfast. Although McCall accepted the money, he was apparently insulted.


title: Wild Bill Hickok

text: The next day, Hickok was playing poker again. He usually sat with his back to a wall so he could see the entrance, but the only seat available when he joined the game was a chair facing away from the door. He twice asked another man at the table, Charles Rich, to change seats with him, but Rich refused. McCall then entered the saloon, walked up behind Hickok, drew his Colt Model 1873 Single Action Army .45-caliber revolver, and shouted, "Damn you! Take that!" before shooting Hickok in the back of the head at point-blank range.


title: Wild Bill Hickok

text: Hickok died instantly. The bullet emerged through his right cheek and struck another player, riverboat Captain William Massie, in the left wrist. Hickok may have told his friend Charlie Utter and others who were traveling with them that he thought he would be killed while in Deadwood.


title: Wild Bill Hickok

text: Hickok was playing five-card stud or five-card draw when he was shot. He was holding two pairs: black aces and black eights (although there is some dispute as to the suit of one of the aces, diamond vs. spade) as his "up cards", which has since become widely known as the "dead man's hand". The identity of the fifth card (his "hole card") is also the subject of debate.


title: Wild Bill Hickok

text: McCall's motive for killing Hickok is the subject of speculation, largely concerning McCall's anger at Hickok's having given him money for breakfast the day before, after McCall had lost heavily.


title: Wild Bill Hickok

text: McCall was summoned before an informal "miners' jury" (an "ad hoc" local group of miners and businessmen). He claimed he was avenging Hickok's earlier slaying of his brother, which may have been true; a man named Lew McCall had indeed been killed by an unknown lawman in Abilene, Kansas, but whether or not the two McCall men were related is unknown. McCall was acquitted of the murder, which prompted editorializing in the "Black Hills Pioneer": "Should it ever be our misfortune to kill a man ... we would simply ask that our trial may take place in some of the mining camps of these hills." Calamity Jane is reputed to have led a mob that threatened McCall with lynching, but at the time of Hickok's death, Jane was actually being held by military authorities.


title: Wild Bill Hickok

text: After bragging about killing Hickok, McCall was rearrested. The second trial was not considered double jeopardy because of the irregular jury in the first trial and because Deadwood was at the time in unorganized Indian country. The new trial was held in Yankton, the capital of the Dakota Territory. Hickok's brother, Lorenzo Butler, traveled from Illinois to attend the retrial. McCall was found guilty and sentenced to death.


title: Wild Bill Hickok

text: Leander Richardson, a reporter, interviewed McCall shortly before his execution, and wrote an article about him for the April 1877 issue of "Scribner's Monthly". Lorenzo Butler Hickok spoke with McCall after the trial, and said McCall showed no remorse.


title: Wild Bill Hickok

text: Jack McCall was hanged on March 1, 1877, and buried in a Roman Catholic cemetery. The cemetery was moved in 1881, and when McCall's body was exhumed, the noose was found still around his neck.


title: Wild Bill Hickok

text: Charlie Utter, Hickok's friend and companion, claimed Hickok's body and placed a notice in the local newspaper, the "Black Hills Pioneer", which read:


title: Wild Bill Hickok

text: Almost the entire town attended the funeral, and Utter had Hickok buried with a wooden grave marker reading:


title: Wild Bill Hickok

text: Hickok is known to have fatally shot six men and is suspected of having killed a seventh (McCanles). Despite his reputation, Hickok was buried in the Ingelside Cemetery, Deadwood's original graveyard. This cemetery filled quickly, and in 1879, on the third anniversary of Hickok's original burial, Utter paid to move Hickok's remains to the new Mount Moriah Cemetery. Utter supervised the move and noted that, while perfectly preserved, Hickok had been imperfectly embalmed. As a result, calcium carbonate from the surrounding soil had replaced the flesh, leading to petrifaction. One of the workers, Joseph McLintock, wrote a detailed description of the reinterment. McLintock used a cane to tap the body, face, and head, finding no soft tissue anywhere. He noted that the sound was similar to tapping a brick wall and believed the remains weighed more than . William Austin, the cemetery caretaker, estimated . This made it difficult for the men to carry the remains to the new site. The original wooden grave marker was moved to the new site, but by 1891, it had been destroyed by souvenir hunters whittling pieces from it, and it was replaced with a statue. This, in turn, was destroyed by souvenir hunters and replaced in 1902 by a life-sized sandstone sculpture of Hickok. This, too, was badly defaced, and was then enclosed in a cage for protection. The enclosure was cut open by souvenir hunters in the 1950s, and the statue was removed.


title: Wild Bill Hickok

text: Hickok is currently interred in a square plot at the Mount Moriah Cemetery, surrounded by a cast-iron fence, with a U.S. flag flying nearby. As of 2020, the flag is no longer flown. A monument has been built there.


title: Wild Bill Hickok

text: Calamity Jane was reported to have been buried next to Hickok according to her dying wish. Four of the men on the self-appointed committee who planned Calamity's funeral (Albert Malter, Frank Ankeney, Jim Carson, and Anson Higby) later stated that, since Hickok had "absolutely no use" for Jane in this life, they decided to play a posthumous joke on him by laying her to rest by his side.


title: Wild Bill Hickok

text: Hickok's favorite guns were a pair of Colt 1851 Navy Model (.36 caliber) cap-and-ball revolvers. They had ivory grips and nickel plating, and were ornately engraved with "J.B. Hickok–1869" on the backstrap. He wore his revolvers butt-forward in a belt or sash (when wearing city clothes or buckskins, respectively), and seldom used holsters; he drew the pistols using a "reverse", "twist", or cavalry draw, as would a cavalryman.


title: Wild Bill Hickok

text: At the time of his death, Hickok was wearing a Smith & Wesson Model No. 2 Army revolver, a five-shot, single-action, .32-caliber weapon, innovative as one of the first metallic cartridge firearms and favored by many Union officers during the Civil War. Bonhams auction company offered this pistol at auction on November 18, 2013, in San Francisco, California, described as Hickok's Smith & Wesson No. 2, serial number 29963, a .32 rimfire with a six-inch barrel, blued finish, and varnished rosewood grips. The gun did not sell because the highest bid of $220,000 was less than the reserve set by the gun's owners.


title: Wild Bill Hickok

text: Hickok has remained one of the most popular and iconic figures of the American Old West, and is still frequently depicted in popular culture, including literature, film, and television.


title: Wild Bill Hickok

text: Paramount Pictures' Western silent film "Wild Bill Hickok" (released on November 18, 1923) was directed by Clifford Smith and stars William S. Hart as Hickok. A print of the film is maintained in the Museum of Modern Art film archive.


title: Wild Bill Hickok

text: The movie "The Plainsman" (1936), starring Gary Cooper as Hickok, features the alleged romance between Calamity Jane and him as its main plot line. It is a loose adaptation of Hickok's life, ending with his famous aces-and-eights card hand. A later film (1953) and subsequent stage musical, both titled "Calamity Jane", also portray a romance between Calamity Jane and Hickok. In the film version, Howard Keel co-stars as Hickok to Doris Day's Calamity Jane.


title: Wild Bill Hickok

text: "Prairie Schooners" is a 1940 American Western film directed by Sam Nelson, which stars Wild Bill Elliott as Hickok.


title: Wild Bill Hickok

text: In 1954 an episode of "Gunsmoke" on CBS radio featured John Dehner as Hickok. Hickok was sent from Abilene to arrest Matt Dillon (William Conrad) for the murder of a man he had thrown out of Dodge earlier that month. In the episode Dillon and Hickok are old friends.


title: Wild Bill Hickok

text: "The White Buffalo" (1977), starring Charles Bronson as Hickok, tells a tale of Hickok's hunt for a murderous white buffalo that follows him in his nightmares.


title: Wild Bill Hickok

text: A highly fictional film account of Hickok's later years and death, titled "Wild Bill" (1995), stars Jeff Bridges as Hickok and David Arquette as Jack McCall, and was written and directed by Walter Hill.


title: Wild Bill Hickok

text: A semifictionalized version of Hickok's time as marshal of Abilene Kansas, titled "Hickok" (2017), stars Luke Hemsworth as Hickok, Trace Adkins as the Bull's Head Saloon keeper Phil Coe, Kris Kristofferson as Abilene mayor George Knox, and Kaiwi Lyman-Mersereau as John Wesley Hardin. It was written by Michael Lanahan and directed by Timothy Woodward Jr.


title: Wild Bill Hickok

text: In the early 1990s ABC television series "Young Riders", a fictional account of Pony Express riders, Hickok is portrayed by Josh Brolin.


title: Wild Bill Hickok

text: Hickok's birthplace is now the Wild Bill Hickok Memorial and is a listed historic site under the supervision of the Illinois Historic Preservation Agency. The town of Deadwood, South Dakota, re-enacts Hickok's murder and McCall's capture every summer evening. In 1979, Hickok was inducted into the Poker Hall of Fame.


title: Death of a Salesman

text: Death of a Salesman is a 1949 stage play written by American playwright Arthur Miller. The play premiered on Broadway in February 1949, running for 742 performances. It is a two-act tragedy set in late 1940s Brooklyn told through a montage of memories, dreams, and arguments of the protagonist Willy Loman, a travelling salesman who is disappointed with his life, and appears to be slipping into senility. The play contains a variety of themes, such as the American Dream, the anatomy of truth, and infidelity. It won the 1949 Pulitzer Prize for Drama and Tony Award for Best Play. It is considered by some critics to be one of the greatest plays of the 20th century.


title: Death of a Salesman

text: Since its premiere, the play has been revived on Broadway five times, winning three Tony Awards for Best Revival. It has been adapted for the cinema on ten occasions, including a 1951 version from an adaptation by screenwriter Stanley Roberts, starring Fredric March. In 1999, "New Yorker" drama critic John Lahr said that with 11 million copies sold, it was "probably the most successful modern play ever published."


title: Death of a Salesman

text: The genesis of the play was a chance encounter between Miller and his uncle Manny Newman, a salesman, whom he met in 1947 in the lobby of a Boston theater that was playing "All My Sons". Writing in a critical study of the play, author Brenda Murphy observed that Manny "lodged in his imagination and created a dramatic problem that he felt compelled to solve."


title: Death of a Salesman

text: Miller later recounted that when he saw Manny at the theater, "I could see the grim hotel room behind him, the long trip up from New York in his little car, the hopeless hope of the day's business." Without acknowledging Miller's greeting or congratulating him on the play, Manny said "Buddy is doing very well.'" Buddy was Manny's son, and Manny saw Miller and his older brother as "running neck and neck" with his two sons "in some race that never stopped in his mind." When visiting Manny as a youth, Miller felt <nowiki>"</nowiki>gangling and unhandsome<nowiki>"</nowiki> and usually heard <nowiki>"</nowiki>some kind of insinuation of my entire life's probable failure.<nowiki>"</nowiki> Seeing him again in Boston, Manny was "so absurd, so completely isolated from the ordinary laws of gravity, so elaborate in his fantastic inventions," and so much in love with fame and fortune that "he possessed my imagination."


title: Death of a Salesman

text: Manny's subsequent death shortly after their encounter was by suicide, which also was the cause of death of two other salesmen Miller had known. One of Manny's sons told Miller that Manny had always wanted to create a business for his two sons. Learning that transformed Manny, in Miller's mind, to "a man with a purpose."


title: Death of a Salesman

text: The sudden appearance of Manny returned Miller to an idea for a play about a salesman that he had considered years before. He also had new interest in the simultaneousness of the past and present that was evident at their meeting, as it was plain that he and his cousins were viewed by Manny as they were when they were adolescent competitors many years earlier. This inspired Miller to "do a play without any transitions at all, dialogue that would simply leap from bone to bone of a skeleton that would not for an instant cease being added to, an organism as strictly economic as a leaf, as trim as an ant."


title: Death of a Salesman

text: In creating Willy and the other characters, Miller also drew on his relationship with his father as well as another salesman. Miller was himself the model of the young Bernard.


title: Death of a Salesman

text: The play takes place in the present day, 1949. The setting is the Loman home in Brooklyn, which is hemmed in by apartment buildings.


title: Death of a Salesman

text: Willy Loman returns home weak after a botched business trip. Worried over Willy's state of mind and recent car accident, his wife Linda suggests that he ask his boss Howard Wagner to allow him to work in his home city so he will not have to travel. Willy complains to Linda that their son, Biff, has yet to do something with his life. Despite Biff's potential as a high school football star, he failed in mathematics and was therefore unable to enter a university.


title: Death of a Salesman

text: Biff and his younger brother, Happy, who is temporarily staying with Willy and Linda after Biff's unexpected return from the West, reminisce about their childhood together. They discuss their father's mental degeneration, which they have witnessed in the form of his constant indecisiveness and daydreaming about the boys' high school years. Eventually, Willy walks in, angry that the two boys have never amounted to anything. In an effort to pacify their father, Biff and Happy tell him that Biff plans to make an extraordinary business proposition the next day.


title: Death of a Salesman

text: The next day, Willy goes to ask Howard for a job in town while Biff goes to make a business proposition, but they both fail. Howard boldly refuses to give Willy a New York job, despite Willy's desperate pleas. Willy then loses his temper and ends up getting fired when Howard tells him he needs a long rest and is now no longer allowed to represent the Wagner Company, while Biff waits hours to see a former employer who does not remember him and turns him down. Biff impulsively steals a fountain pen. Willy then goes to the office of his neighbor Charley, where he runs into Charley's son Bernard, who is now a successful lawyer about to argue a case in front of the Supreme Court. Bernard tells him that Biff originally wanted to go to summer school to make up for failing math, but something happened in Boston when Biff went to visit his father that changed his mind. Charley then offers Willy a do-nothing job, but Willy repeatedly refuses. Charley then reluctantly gives the now-unemployed Willy money to pay off his life-insurance premium, and Willy shocks Charley by remarking that ultimately, a man is "worth more dead than alive."


title: Death of a Salesman

text: Happy, Biff, and Willy meet for dinner at a restaurant, but Willy refuses to hear the bad news from Biff. Happy tries to get Biff to lie to their father. Biff tries to tell him what happened as Willy gets angry and slips into a flashback of what happened in Boston the day Biff came to see him: Willy had been in Boston for work, and Biff went to visit him to ask Willy to convince his teacher to curve Biff's failing math grade. Willy was in the middle of an extramarital affair with a receptionist, when Biff arrived unexpectedly at the hotel room, and saw the woman, who was half-dressed. Biff did not accept his father's cover-up story, and angrily dismissed him as a liar and a fake before storming out. From that moment, Biff's views of his father changed and set him adrift.


title: Death of a Salesman

text: Biff leaves the restaurant in frustration, followed by Happy and two girls that Happy picked up, leaving a confused and upset Willy behind. When they later return home, Linda angrily confronts them for abandoning their father while Willy remains outside, talking to himself. Biff tries to reconcile with Willy, but the discussion quickly escalates into another argument. Biff conveys plainly to his father that he is not meant for anything great, insisting that both of them are simply ordinary men meant to lead ordinary lives. The argument reaches an apparent climax as Biff hugs Willy and begins to cry as he tries to get Willy to let go of his unrealistic expectations. Rather than listen to what Biff actually says, Willy appears to believe his son has forgiven him and will follow in his footsteps, and after Linda goes upstairs to bed, lapses one final time into a hallucination, thinking he is talking to his long-dead brother Ben. In Willy's mind, Ben "approves" of the scheme Willy has dreamed up to take his own life in order to give Biff his life insurance money to help him start a business. Willy exits the house, and Biff and Linda cry out in despair as the sound of Willy's car blares up and fades out.


title: Death of a Salesman

text: The final scene takes place at Willy's funeral, which is attended only by his family, Charley and Bernard (who does not speak during the scene). The ambiguities of mixed and unaddressed emotions persist, particularly over whether Willy's choices or circumstances were obsolete. At the funeral, Biff retains his belief that he does not want to become a businessman like his father. Happy, on the other hand, chooses to follow in his father's footsteps, while Linda laments her husband's decision just before her final payment on the house.


title: Death of a Salesman

text: "Death of a Salesman" uses flashbacks to present Willy's memory during the reality. The illusion not only "suggests the past, but also presents the lost pastoral life." Willy has dreamed of success his whole life and makes up lies about his and Biff's success. The more he indulges in the illusion, the harder it is for him to face reality. Biff is the only one who realizes that the whole family lived in the lies and tries to face the truth.


title: Death of a Salesman

text: Miller creates his own version of a traditional tragedy by including aspects like comparing characters to Greek icons and centering the focus of the play on the life of a common man in "Death of a Salesman". Willy Loman was a common salesman who was image driven and appearance was everything to him. He noted how appearance was a leading factor in sales, so Willy felt his sons were destined to have great success. In Terry Thompson's academic journal, he explained how Willy Loman compared his sons to Hercules and that they were "built like Adonises" (Miller 33). This equalization to higher beings tied in the one of the traditional aspects of tragedies. In typical tragedies, the story was focused on royal beings with Oedipus and Orestes complexes. Arthur Miller wanted to show that the common man and those with status were more equal than people usually thought. They had the same mental processes and emotions to similar situations. Mankind cherishes tragedies so Miller felt that he should create a tragedy that resonates with his audiences to allow them to feel pity and fear for the characters since the audience may be feeling the same feelings in their own lives. A tragedy captivates the audience and should evoke feelings similar to those that are felt by the characters of the story.


title: Death of a Salesman

text: Writing in "The New York Times" in 1999, journalist John Tierney observed that the mental illness suffered by Loman was a "biochemical abnormality" that was "not the sort of tragic flaw that makes a classic play." But he noted that "Mr. Miller and his admirers have grander explanations for the death of a salesman. Willy's fate is supposed to be partly a result of his own moral failings, in particular the adulterous affair that his son is traumatized to discover. When Willy kills himself, he is haunted by the memory of his infidelity and by the fear that it ruined his son's life." But Tierney expressed skepticism that one affair would lead to "such ruination," and said that "to certain Manhattanites, it may be comforting to imagine that vulgarians like him and Manny Newman are hopelessly stuck across the river."


title: Death of a Salesman

text: "Death of a Salesman" first opened on February 10, 1949, to great success. Drama critic John Gassner wrote that "the ecstatic reception accorded "Death of Salesman" has been reverberating for some time wherever there is an ear for theatre, and it is undoubtedly the best American play since "A Streetcar Named Desire"." Eric Bentley saw the play as "a potential tragedy deflected from its true course by Marxist sympathies."


title: Death of a Salesman

text: The play reached London on July 28, 1949. London responses were mixed, but mostly favorable. "The Times" criticized it, saying that "the strongest play of New York theatrical season should be transferred to London in the deadest week of the year." Eric Keown, theatre critic of "Punch", praised the production for its "imagination and good theatre-sense", noting that "Mr. Elia Kazan makes a complicated production seem extraordinarily natural."


title: Death of a Salesman

text: The play was hailed as "the most important and successful night" in Hebbel Theater in Berlin . It was said that "it was impossible to get the audience to leave the theatre" at the end of the performance. The Berlin production was more successful than New York, possibly due to better interpretation.


title: Death of a Salesman

text: Compared to Tennessee Williams and Samuel Beckett, Arthur Miller and his "Death of a Salesman" were less influential. Rajinder Paul said that ""Death of a Salesman" has only an indirect influence on Indian theatre practitions." However, it was translated and produced in Bengali as "Pheriwalar Mrityu" by the theater group Nandikar. Director Feroz Khan adapted the play in Hindi and English by the name "Salesman Ramlal" played by Satish Kaushik and with the role of his son portrayed by Kishore Kadam.


title: Death of a Salesman

text: "Death of a Salesman" was welcomed in China. There, Arthur Miller directed the play himself. As Miller stated, "It depends on the father and the mother and the children. That's what it's about. The salesman part is what he does to stay alive. But he could be a peasant, he could be, whatever." Here, the play focuses on the family relationship. It is easier for the Chinese public to understand the relationship between father and son because "One thing about the play that is very Chinese is the way Willy tries to make his sons successful." The Chinese father always wants his sons to be 'dragons.'


title: Death of a Salesman

text: The original Broadway production was produced by Kermit Bloomgarden and Walter Fried. The play opened at the Morosco Theatre on February 10, 1949, closing on November 18, 1950, after 742 performances. The play starred Lee J. Cobb as Willy Loman, Mildred Dunnock as Linda, Arthur Kennedy as Biff, Howard Smith as Charley and Cameron Mitchell as Happy. Albert Dekker and Gene Lockhart later played Willy Loman during the original Broadway run. It won the Tony Award for Best Play, Best Supporting or Featured Actor (Arthur Kennedy), Best Scenic Design (Jo Mielziner), Producer (Dramatic), Author (Arthur Miller), and Director (Elia Kazan), as well as the 1949 Pulitzer Prize for Drama and the New York Drama Critics' Circle Award for Best Play. Jayne Mansfield performed in a production of the play in Dallas, Texas, in October 1953. Her performance in the play attracted Paramount Pictures to hire her for the studio's film productions.


title: Death of a Salesman

text: Christopher Lloyd portrayed Willy Loman in a 2010 production by the Weston Playhouse in Weston, Vermont, which toured several New England venues.


title: Death of a Salesman

text: Antony Sher played Willy Loman in the first Royal Shakespeare Company production of the play directed by Gregory Doran in Stratford-upon-Avon in the spring of 2015, with Harriet Walter as Linda Loman. This production transferred to London's West End, at the Noël Coward Theatre for ten weeks in the summer of 2015. This production was part of the centenary celebrations for playwright Arthur Miller.


title: Death of a Salesman

text: The play ran until Saturday, 4 January 2020 at the Piccadilly Theatre in London, starring Sharon D. Clarke and Wendell Pierce.


title: W. B. Yeats

text: William Butler Yeats (13 June 186528 January 1939) was an Irish poet, dramatist, writer and one of the foremost figures of 20th-century literature. He was a driving force behind the Irish Literary Revival and became a pillar of the Irish literary establishment who helped to found the Abbey Theatre. In his later years he served two terms as a Senator of the Irish Free State.


title: W. B. Yeats

text: A Protestant of Anglo-Irish descent, Yeats was born in Sandymount and was educated in Dublin and London and spent childhood holidays in County Sligo. He studied poetry from an early age, when he became fascinated by Irish legends and the occult. These topics feature in the first phase of his work, lasting roughly from his student days at the Metropolitan School of Art in Dublin until the turn of the 20th century. His earliest volume of verse was published in 1889, and its slow-paced and lyrical poems display debts to Edmund Spenser, Percy Bysshe Shelley and the poets of the Pre-Raphaelite Brotherhood.


title: W. B. Yeats

text: From 1900 his poetry grew more physical, realistic and politicised. He moved away from the transcendental beliefs of his youth, though he remained preoccupied with some elements including cyclical theories of life. He had become the chief playwright for the Irish Literary Theatre in 1897, and early on promoted younger poets such as Ezra Pound. Yeats was awarded the Nobel Prize in Literature in 1923. His major later works include 1928's "The Tower" and "Words for Music Perhaps and Other Poems", published in 1932.


title: W. B. Yeats

text: William Butler Yeats was born in Sandymount in County Dublin, Ireland. His father, John Butler Yeats (1839–1922), was a descendant of Jervis Yeats, a Williamite soldier, linen merchant, and well-known painter, who died in 1712. Benjamin Yeats, Jervis's grandson and William's great-great-grandfather, had in 1773 married Mary Butler of a landed family in County Kildare. Following their marriage, they kept the name Butler. Mary was of the Butler of Neigham (pronounced Nyam) Gowran family, descended from an illegitimate brother of The 8th Earl of Ormond.


title: W. B. Yeats

text: At the time of his marriage, William's father, John Yeats, was studying law, but would later pursue art studies at Heatherley School of Fine Art, in London. William's mother, Susan Mary Pollexfen, came from Sligo, from a wealthy merchant family, who owned a milling and shipping business. Soon after William's birth, the family relocated to the Pollexfen home at Merville, Sligo, to stay with her extended family, and the young poet came to think of the area as his childhood and spiritual home. Its landscape became, over time, both personally and symbolically, his "country of the heart". So too did its location by the sea; John Yeats stated that "by marriage with a Pollexfen, we have given a tongue to the sea cliffs". The Butler Yeats family were highly artistic; his brother Jack became an esteemed painter, while his sisters Elizabeth and Susan Mary—known to family and friends as Lollie and Lily—became involved in the Arts and Crafts movement.


title: W. B. Yeats

text: Yeats was raised a member of the Protestant Ascendancy, which was at the time undergoing a crisis of identity. While his family was broadly supportive of the changes Ireland was experiencing, the nationalist revival of the late 19th century directly disadvantaged his heritage and informed his outlook for the remainder of his life. In 1997, his biographer R. F. Foster observed that Napoleon's dictum that to understand the man you have to know what was happening in the world when he was twenty "is manifestly true of W.B.Y." Yeats's childhood and young adulthood were shadowed by the power-shift away from the minority Protestant Ascendancy. The 1880s saw the rise of Charles Stewart Parnell and the home rule movement; the 1890s saw the momentum of nationalism, while the Irish Catholics became prominent around the turn of the century. These developments had a profound effect on his poetry, and his subsequent explorations of Irish identity had a significant influence on the creation of his country's biography.


title: W. B. Yeats

text: In 1867, the family moved to England to aid their father, John, to further his career as an artist. At first, the Yeats children were educated at home. Their mother entertained them with stories and Irish folktales. John provided an erratic education in geography and chemistry and took William on natural history explorations of the nearby Slough countryside. On 26 January 1877, the young poet entered the Godolphin School, which he attended for four years. He did not distinguish himself academically, and an early school report describes his performance as "only fair. Perhaps better in Latin than in any other subject. Very poor in spelling". Though he had difficulty with mathematics and languages (possibly because he was tone deaf), he was fascinated by biology and zoology. In 1879 the family moved to Bedford Park taking a two-year lease on 8 Woodstock Road. For financial reasons, the family returned to Dublin toward the end of 1880, living at first in the suburbs of Harold's Cross and later in Howth. In October 1881, Yeats resumed his education at Dublin's Erasmus Smith High School. His father's studio was nearby and William spent a great deal of time there, where he met many of the city's artists and writers. During this period he started writing poetry, and, in 1885, the "Dublin University Review" published Yeats's first poems, as well as an essay entitled "The Poetry of Sir Samuel Ferguson". Between 1884 and 1886, William attended the Metropolitan School of Art—now the National College of Art and Design—in Thomas Street. In March 1888 the family moved to 3 Blenheim Road in Bedford Park where they would remain until 1902. The rent on the house in 1888 was £50 a year.


title: W. B. Yeats

text: He began writing his first works when he was seventeen; these included a poem—heavily influenced by Percy Bysshe Shelley—that describes a magician who set up a throne in central Asia. Other pieces from this period include a draft of a play about a bishop, a monk, and a woman accused of paganism by local shepherds, as well as love-poems and narrative lyrics on German knights. The early works were both conventional and, according to the critic Charles Johnston, "utterly unIrish", seeming to come out of a "vast murmurous gloom of dreams". Although Yeats's early works drew heavily on Shelley, Edmund Spenser, and on the diction and colouring of pre-Raphaelite verse, he soon turned to Irish mythology and folklore and the writings of William Blake. In later life, Yeats paid tribute to Blake by describing him as one of the "great artificers of God who uttered great truths to a little clan". In 1891, Yeats published "John Sherman" and "Dhoya", one a novella, the other a story. The influence of Oscar Wilde is evident in Yeats's theory of aesthetics, especially in his stage plays, and runs like a motif through his early works. The theory of masks, developed by Wilde in his polemic "The Decay of Lying" can clearly be seen in Yeats's play "The Player Queen", while the more sensual characterisation of Salomé, in Wilde's play of the same name, provides the template for the changes Yeats made in his later plays, especially in "On Baile's Strand" (1904), "Deirdre" (1907), and his dance play "The King of the Great Clock Tower" (1934).


title: W. B. Yeats

text: The family returned to London in 1887. In March 1890 Yeats joined the Hermetic Order of the Golden Dawn, and with Ernest Rhys co-founded the Rhymers' Club, a group of London-based poets who met regularly in a Fleet Street tavern to recite their verse. Yeats later sought to mythologize the collective, calling it the "Tragic Generation" in his autobiography, and published two anthologies of the Rhymers' work, the first one in 1892 and the second one in 1894. He collaborated with Edwin Ellis on the first complete edition of William Blake's works, in the process rediscovering a forgotten poem, "Vala, or, the Four Zoas".


title: W. B. Yeats

text: Yeats had a lifelong interest in mysticism, spiritualism, occultism and astrology. He read extensively on the subjects throughout his life, became a member of the paranormal research organisation "The Ghost Club" (in 1911) and was influenced by the writings of Emanuel Swedenborg. As early as 1892, he wrote: "If I had not made magic my constant study I could not have written a single word of my Blake book, nor would "The Countess Kathleen" ever have come to exist. The mystical life is the centre of all that I do and all that I think and all that I write." His mystical interests—also inspired by a study of Hinduism, under the Theosophist Mohini Chatterjee, and the occult—formed much of the basis of his late poetry. Some critics disparaged this aspect of Yeats's work.


title: W. B. Yeats

text: His first significant poem was "The Island of Statues", a fantasy work that took Edmund Spenser and Shelley for its poetic models. The piece was serialized in the "Dublin University Review". Yeats wished to include it in his first collection, but it was deemed too long, and in fact, was never republished in his lifetime. Quinx Books published the poem in complete form for the first time in 2014. His first solo publication was the pamphlet "Mosada: A Dramatic Poem" (1886), which comprised a print run of 100 copies paid for by his father. This was followed by the collection "The Wanderings of Oisin and Other Poems" (1889), which arranged a series of verse that dated as far back as the mid-1880s. The long title poem contains, in the words of his biographer R. F. Foster, "obscure Gaelic names, striking repetitions [and] an unremitting rhythm subtly varied as the poem proceeded through its three sections":


title: W. B. Yeats

text: "The Wanderings of Oisin" is based on the lyrics of the Fenian Cycle of Irish mythology and displays the influence of both Sir Samuel Ferguson and the Pre-Raphaelite poets. The poem took two years to complete and was one of the few works from this period that he did not disown in his maturity. "Oisin" introduces what was to become one of his most important themes: the appeal of the life of contemplation over the appeal of the life of action. Following the work, Yeats never again attempted another long poem. His other early poems, which are meditations on the themes of love or mystical and esoteric subjects, include "Poems" (1895), "The Secret Rose" (1897), and "The Wind Among the Reeds" (1899). The covers of these volumes were illustrated by Yeats's friend Althea Gyles.


title: W. B. Yeats

text: During 1885, Yeats was involved in the formation of the Dublin Hermetic Order. That year the Dublin Theosophical lodge was opened in conjunction with Brahmin Mohini Chatterjee, who travelled from the Theosophical Society in London to lecture. Yeats attended his first séance the following year. He later became heavily involved with the Theosophy and with hermeticism, particularly with the eclectic Rosicrucianism of the Hermetic Order of the Golden Dawn. During séances held from 1912, a spirit calling itself "Leo Africanus" apparently claimed it was Yeats's "Daemon" or anti-self, inspiring some of the speculations in "Per Amica Silentia Lunae". He was admitted into the Golden Dawn in March 1890 and took the magical motto ""—translated as 'Devil is God inverted'. He was an active recruiter for the sect's Isis-Urania Temple, and brought in his uncle George Pollexfen, Maud Gonne, and Florence Farr. Although he reserved a distaste for abstract and dogmatic religions founded around personality cults, he was attracted to the type of people he met at the Golden Dawn. He was involved in the Order's power struggles, both with Farr and Macgregor Mathers, and was involved when Mathers sent Aleister Crowley to repossess Golden Dawn paraphernalia during the "Battle of Blythe Road". After the Golden Dawn ceased and splintered into various offshoots, Yeats remained with the Stella Matutina until 1921.


title: W. B. Yeats

text: In 1889, Yeats met Maud Gonne, a 23-year-old English heiress and ardent Irish nationalist. She was eighteen months younger than Yeats and later claimed she met the poet as a "paint-stained art student." Gonne admired "The Island of Statues" and sought out his acquaintance. Yeats began an obsessive infatuation, and she had a significant and lasting effect on his poetry and his life thereafter. In later years he admitted, "it seems to me that she [Gonne] brought into my life those days—for as yet I saw only what lay upon the surface—the middle of the tint, a sound as of a Burmese gong, an over-powering tumult that had yet many pleasant secondary notes." Yeats's love was unrequited, in part due to his reluctance to participate in her nationalist activism.


title: W. B. Yeats

text: In 1891 he visited Gonne in Ireland and proposed marriage, but was rejected. He later admitted that from that point "the troubling of my life began". Yeats proposed to Gonne three more times: in 1899, 1900 and 1901. She refused each proposal, and in 1903, to his dismay, married the Irish nationalist Major John MacBride. His only other love affair during this period was with Olivia Shakespear, whom he first met in 1894, and parted from in 1897.


title: W. B. Yeats

text: Yeats derided MacBride in letters and in poetry. He was horrified by Gonne's marriage, at losing his muse to another man; in addition, her conversion to Catholicism before marriage offended him; Yeats was Protestant/agnostic. He worried his muse would come under the influence of the priests and do their bidding.


title: W. B. Yeats

text: Gonne's marriage to MacBride was a disaster. This pleased Yeats, as Gonne began to visit him in London. After the birth of her son, Seán MacBride, in 1904, Gonne and MacBride agreed to end the marriage, although they were unable to agree on the child's welfare. Despite the use of intermediaries, a divorce case ensued in Paris in 1905. Gonne made a series of allegations against her husband with Yeats as her main 'second', though he did not attend court or travel to France. A divorce was not granted, for the only accusation that held up in court was that MacBride had been drunk once during the marriage. A separation was granted, with Gonne having custody of the baby and MacBride having visiting rights.


title: W. B. Yeats

text: Yeats's friendship with Gonne ended, yet, in Paris in 1908, they finally consummated their relationship. "The long years of fidelity rewarded at last" was how another of his lovers described the event. Yeats was less sentimental and later remarked that "the tragedy of sexual intercourse is the perpetual virginity of the soul." The relationship did not develop into a new phase after their night together, and soon afterwards Gonne wrote to the poet indicating that despite the physical consummation, they could not continue as they had been: "I have prayed so hard to have all earthly desire taken from my love for you and dearest, loving you as I do, I have prayed and I am praying still that the bodily desire for me may be taken from you too." By January 1909, Gonne was sending Yeats letters praising the advantage given to artists who abstain from sex. Nearly twenty years later, Yeats recalled the night with Gonne in his poem "A Man Young and Old":


title: W. B. Yeats

text: In 1896, Yeats was introduced to Lady Gregory by their mutual friend Edward Martyn. Gregory encouraged Yeats's nationalism and convinced him to continue focusing on writing drama. Although he was influenced by French Symbolism, Yeats concentrated on an identifiably Irish content and this inclination was reinforced by his involvement with a new generation of younger and emerging Irish authors. Together with Lady Gregory, Martyn, and other writers including J. M. Synge, Seán O'Casey, and Padraic Colum, Yeats was one of those responsible for the establishment of the "Irish Literary Revival" movement. Apart from these creative writers, much of the impetus for the Revival came from the work of scholarly translators who were aiding in the discovery of both the ancient sagas and Ossianic poetry and the more recent folk song tradition in Irish. One of the most significant of these was Douglas Hyde, later the first President of Ireland, whose "Love Songs of Connacht" was widely admired.


title: W. B. Yeats

text: In 1899, Yeats, Lady Gregory, Edward Martyn and George Moore founded the Irish Literary Theatre to promote Irish plays. The ideals of the Abbey were derived from the avant-garde French theatre, which sought to express the "ascendancy of the playwright rather than the actor-manager "à l'anglais"." The group's manifesto, which Yeats wrote, declared, "We hope to find in Ireland an uncorrupted & imaginative audience trained to listen by its passion for oratory ... & that freedom to experiment which is not found in the theatres of England, & without which no new movement in art or literature can succeed." Yeats's interest in the classics and his defiance of English censorship were also fueled by a tour of America he took between 1903 and 1904. Stopping to deliver a lecture at the University of Notre Dame, he learned about the student production of the "Oedipus Rex". This play was banned in England, an act he viewed as hypocritical as denounced as part of 'British Puritanism'. He contrasted this with the artistic freedom of the Catholicism found at Notre Dame, which had allowed such a play with themes such as incest and parricide. He desired to stage a production of the "Oedipus Rex" in Dublin.


title: W. B. Yeats

text: The collective survived for about two years but was unsuccessful. Working with the Irish brothers with theatrical experience, William and Frank Fay, Yeats's unpaid but independently wealthy secretary Annie Horniman, and the leading West End actress Florence Farr, the group established the Irish National Theatre Society. Along with Synge, they acquired property in Dublin and on 27 December 1904 opened the Abbey Theatre. Yeats's play "Cathleen ni Houlihan" and Lady Gregory's "Spreading the News" were featured on the opening night. Yeats remained involved with the Abbey until his death, both as a member of the board and a prolific playwright. In 1902, he helped set up the Dun Emer Press to publish work by writers associated with the Revival. This became the Cuala Press in 1904, and inspired by the Arts and Crafts Movement, sought to "find work for Irish hands in the making of beautiful things." From then until its closure in 1946, the press—which was run by the poet's sisters—produced over 70 titles; 48 of them books by Yeats himself.


title: W. B. Yeats

text: Yeats met the American poet Ezra Pound in 1909. Pound had travelled to London at least partly to meet the older man, whom he considered "the only poet worthy of serious study." From 1913 until 1916, the two men wintered in the Stone Cottage at Ashdown Forest, with Pound nominally acting as Yeats's secretary. The relationship got off to a rocky start when Pound arranged for the publication in the magazine "Poetry" of some of Yeats's verse with Pound's own unauthorised alterations. These changes reflected Pound's distaste for Victorian prosody. A more indirect influence was the scholarship on Japanese Noh plays that Pound had obtained from Ernest Fenollosa's widow, which provided Yeats with a model for the aristocratic drama he intended to write. The first of his plays modelled on Noh was "At the Hawk's Well", the first draft of which he dictated to Pound in January 1916.


title: W. B. Yeats

text: The emergence of a nationalist revolutionary movement from the ranks of the mostly Roman Catholic lower-middle and working class made Yeats reassess some of his attitudes. In the refrain of "Easter, 1916" ("All changed, changed utterly / A terrible beauty is born"), Yeats faces his own failure to recognise the merits of the leaders of the Easter Rising, due to his attitude towards their ordinary backgrounds and lives.


title: W. B. Yeats

text: Yeats was close to Lady Gregory and her home place of Coole Park, County Galway. He would often visit and stay there as it was a central meeting place for people who supported the resurgence of Irish literature and cultural traditions. His poem, "The Wild Swans at Coole" was written there, between 1916 and 1917.


title: W. B. Yeats

text: He wrote prefaces for two books of Irish mythological tales, compiled by Lady Gregory: "Cuchulain of Muirthemne" (1902), and "Gods and Fighting Men" (1904). In the preface of the latter, he wrote: "One must not expect in these stories the epic lineaments, the many incidents, woven into one great event of, let us say the War for the Brown Bull of Cuailgne or that of the last gathering at Muirthemne."


title: W. B. Yeats

text: Yeats was an Irish nationalist, who sought a kind of traditional lifestyle articulated through poems such as 'The Fisherman'. But as his life progressed, he sheltered much of his revolutionary spirit and distanced himself from the intense political landscape until 1922, when he was appointed Senator for the Irish Free State.


title: W. B. Yeats

text: In the earlier part of his life, Yeats was a member of the Irish Republican Brotherhood. In the 1930s Yeats was fascinated with the authoritarian, anti-democratic, nationalist movements of Europe, and he composed several marching songs for the Blueshirts, although they were never used. He was a fierce opponent of individualism and political liberalism and saw the fascist movements as a triumph of public order and the needs of the national collective over petty individualism. On the other hand, he was also an elitist who abhorred the idea of mob-rule, and saw democracy as a threat to good governance and public order. After the Blueshirt movement began to falter in Ireland, he distanced himself somewhat from his previous views, but maintained a preference for authoritarian and nationalist leadership. D. P. Moran called him a minor poet and "crypto-Protestant conman."


title: W. B. Yeats

text: By 1916, Yeats was 51 years old and determined to marry and produce an heir. His rival, John MacBride, had been executed for his role in the 1916 Easter Rising, so Yeats hoped that his widow, Maud Gonne, might remarry. His final proposal to Gonne took place in mid-1916. Gonne's history of revolutionary political activism, as well as a series of personal catastrophes in the previous few years of her life—including chloroform addiction and her troubled marriage to MacBride—made her a potentially unsuitable wife; biographer R. F. Foster has observed that Yeats's last offer was motivated more by a sense of duty than by a genuine desire to marry her.


title: W. B. Yeats

text: Yeats proposed in an indifferent manner, with conditions attached, and he both expected and hoped she would turn him down. According to Foster, "when he duly asked Maud to marry him and was duly refused, his thoughts shifted with surprising speed to her daughter." Iseult Gonne was Maud's second child with Lucien Millevoye, and at the time was twenty-one years old. She had lived a sad life to this point; conceived as an attempt to reincarnate her short-lived brother, for the first few years of her life she was presented as her mother's adopted niece. When Maud told her that she was going to marry, Iseult cried and told her mother that she hated MacBride. When Gonne took action to divorce MacBride in 1905, the court heard allegations that he had sexually assaulted Iseult, then eleven. At fifteen, she proposed to Yeats. In 1917, he proposed to Iseult but was rejected.


title: W. B. Yeats

text: That September, Yeats proposed to 25-year-old Georgie Hyde-Lees (1892–1968), known as George, whom he had met through Olivia Shakespear. Despite warnings from her friends—"George ... you can't. He must be dead"—Hyde-Lees accepted, and the two were married on 20 October 1917. Their marriage was a success, in spite of the age difference, and in spite of Yeats's feelings of remorse and regret during their honeymoon. The couple went on to have two children, Anne and Michael. Although in later years he had romantic relationships with other women, Georgie herself wrote to her husband "When you are dead, people will talk about your love affairs, but I shall say nothing, for I will remember how proud you were."


title: W. B. Yeats

text: During the first years of marriage, they experimented with automatic writing; she contacted a variety of spirits and guides they called "Instructors" while in a trance. The spirits communicated a complex and esoteric system of philosophy and history, which the couple developed into an exposition using geometrical shapes: phases, cones, and gyres. Yeats devoted much time to preparing this material for publication as "A Vision" (1925). In 1924, he wrote to his publisher T. Werner Laurie, admitting: "I dare say I delude myself in thinking this book my book of books".


title: W. B. Yeats

text: In December 1923, Yeats was awarded the Nobel Prize in Literature "for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation". Politically aware, he knew the symbolic value of an Irish winner so soon after Ireland had gained independence, and highlighted the fact at each available opportunity. His reply to many of the letters of congratulations sent to him contained the words: "I consider that this honour has come to me less as an individual than as a representative of Irish literature, it is part of Europe's welcome to the Free State."


title: W. B. Yeats

text: Yeats used the occasion of his acceptance lecture at the Royal Academy of Sweden to present himself as a standard-bearer of Irish nationalism and Irish cultural independence. As he remarked, "The theatres of Dublin were empty buildings hired by the English travelling companies, and we wanted Irish plays and Irish players. When we thought of these plays we thought of everything that was romantic and poetical because the nationalism we had called up—the nationalism every generation had called up in moments of discouragement—was romantic and poetical." The prize led to a significant increase in the sales of his books, as his publishers Macmillan sought to capitalise on the publicity. For the first time he had money, and he was able to repay not only his own debts but those of his father.


title: W. B. Yeats

text: By early 1925, Yeats's health had stabilised, and he had completed most of the writing for "A Vision" (dated 1925, it actually appeared in January 1926, when he almost immediately started rewriting it for a second version). He had been appointed to the first Irish Senate in 1922, and was re-appointed for a second term in 1925. Early in his tenure, a debate on divorce arose, and Yeats viewed the issue as primarily a confrontation between the emerging Roman Catholic ethos and the Protestant minority. When the Roman Catholic Church weighed in with a blanket refusal to consider their anti position, "The Irish Times" countered that a measure to outlaw divorce would alienate Protestants and "crystallise" the partition of Ireland.


title: W. B. Yeats

text: In response, Yeats delivered a series of speeches that attacked the "quixotically impressive" ambitions of the government and clergy, likening their campaign tactics to those of "medieval Spain." "Marriage is not to us a Sacrament, but, upon the other hand, the love of a man and woman, and the inseparable physical desire, are sacred. This conviction has come to us through ancient philosophy and modern literature, and it seems to us a most sacrilegious thing to persuade two people who hate each other... to live together, and it is to us no remedy to permit them to part if neither can re-marry." The resulting debate has been described as one of Yeats's "supreme public moments", and began his ideological move away from pluralism towards religious confrontation.


title: W. B. Yeats

text: His language became more forceful; the Jesuit Father Peter Finlay was described by Yeats as a man of "monstrous discourtesy", and he lamented that "It is one of the glories of the Church in which I was born that we have put our Bishops in their place in discussions requiring legislation". During his time in the Senate, Yeats further warned his colleagues: "If you show that this country, southern Ireland, is going to be governed by Roman Catholic ideas and by Catholic ideas alone, you will never get the North... You will put a wedge in the midst of this nation". He memorably said of his fellow Irish Protestants, "we are no petty people".


title: W. B. Yeats

text: In 1924, he chaired a coinage committee charged with selecting a set of designs for the first currency of the Irish Free State. Aware of the symbolic power latent in the imagery of a young state's currency, he sought a form that was "elegant, racy of the soil, and utterly unpolitical". When the house finally decided on the artwork of Percy Metcalfe, Yeats was pleased, though he regretted that compromise had led to "lost muscular tension" in the finally depicted images. He retired from the Senate in 1928 because of ill health.


title: W. B. Yeats

text: Towards the end of his life—and especially after the Wall Street Crash of 1929 and Great Depression, which led some to question whether democracy could cope with deep economic difficulty—Yeats seems to have returned to his aristocratic sympathies. During the aftermath of the First World War, he became sceptical about the efficacy of democratic government, and anticipated political reconstruction in Europe through totalitarian rule. His later association with Pound drew him towards Benito Mussolini, for whom he expressed admiration on a number of occasions. He wrote three "marching songs"—never used—for the Irish General Eoin O'Duffy's Blueshirts.


title: W. B. Yeats

text: At the age of 69 he was 'rejuvenated' by the Steinach operation which was performed on 6 April 1934 by Norman Haire. For the last five years of his life Yeats found a new vigour evident from both his poetry and his intimate relations with younger women. During this time, Yeats was involved in a number of romantic affairs with, among others, the poet and actress Margot Ruddock, and the novelist, journalist and sexual radical Ethel Mannin. As in his earlier life, Yeats found erotic adventure conducive to his creative energy, and, despite age and ill-health, he remained a prolific writer. In a letter of 1935, Yeats noted: "I find my present weakness made worse by the strange second puberty the operation has given me, the ferment that has come upon my imagination. If I write poetry it will be unlike anything I have done". In 1936, he undertook editorship of the "Oxford Book of Modern Verse, 1892–1935". From 1935 to 1936 he travelled to the Western Mediterranean island of Majorca with Indian-born Shri Purohit Swami and from there the two of them performed the majority of the work in translating the principal Upanishads from Sanskrit into common English; the resulting work, "The Ten Principal Upanishads", was published in 1938.


title: W. B. Yeats

text: He died at the Hôtel Idéal Séjour, in Menton, France, on 28 January 1939, aged 73. He was buried after a discreet and private funeral at Roquebrune-Cap-Martin. Attempts had been made at Roquebrune to dissuade the family from proceeding with the removal of the remains to Ireland due to the uncertainty of their identity. His body had earlier been exhumed and transferred to the ossuary. Yeats and George had often discussed his death, and his express wish was that he be buried quickly in France with a minimum of fuss. According to George, "His actual words were 'If I die, bury me up there [at Roquebrune] and then in a year's time when the newspapers have forgotten me, dig me up and plant me in Sligo'." In September 1948, Yeats's body was moved to the churchyard of St Columba's Church, Drumcliff, County Sligo, on the Irish Naval Service corvette "LÉ Macha". The person in charge of this operation for the Irish Government was Seán MacBride, son of Maud Gonne MacBride, and then Minister of External Affairs.


title: W. B. Yeats

text: French ambassador Stanislas Ostroróg was involved in returning the remains of the poet from France to Ireland in 1948; in a letter to the European director of the Foreign Ministry in Paris, "Ostrorog tells how Yeats's son Michael sought official help in locating the poet's remains. Neither Michael Yeats nor Sean MacBride, the Irish foreign minister who organised the ceremony, wanted to know the details of how the remains were collected, Ostrorog notes. He repeatedly urges caution and discretion and says the Irish ambassador in Paris should not be informed." Yeats's body was exhumed in 1946 and the remains were moved to an ossuary and mixed with other remains. The French Foreign Ministry authorized Ostrorog to secretly cover the cost of repatriation from his slush fund. Authorities were worried about the fact that the much-loved poet's remains were thrown into a communal grave, causing embarrassment for both Ireland and France. Per a letter from Ostroróg to his superiors, "Mr Rebouillat, (a) forensic doctor in Roquebrune would be able to reconstitute a skeleton presenting all the characteristics of the deceased."


title: W. B. Yeats

text: Yeats is considered one of the key twentieth-century English-language poets. He was a Symbolist poet, using allusive imagery and symbolic structures throughout his career. He chose words and assembled them so that, in addition to a particular meaning, they suggest abstract thoughts that may seem more significant and resonant. His use of symbols is usually something physical that is both itself and a suggestion of other, perhaps immaterial, timeless qualities.


title: W. B. Yeats

text: Unlike the modernists who experimented with free verse, Yeats was a master of the traditional forms. The impact of modernism on his work can be seen in the increasing abandonment of the more conventionally poetic diction of his early work in favour of the more austere language and more direct approach to his themes that increasingly characterises the poetry and plays of his middle period, comprising the volumes "In the Seven Woods", "Responsibilities" and "The Green Helmet". His later poetry and plays are written in a more personal vein, and the works written in the last twenty years of his life include mention of his son and daughter, as well as meditations on the experience of growing old. In his poem "The Circus Animals' Desertion", he describes the inspiration for these late works:


title: W. B. Yeats

text: During 1929, he stayed at Thoor Ballylee near Gort in County Galway (where Yeats had his summer home since 1919) for the last time. Much of the remainder of his life was lived outside Ireland, although he did lease Riversdale house in the Dublin suburb of Rathfarnham in 1932. He wrote prolifically through his final years, and published poetry, plays, and prose. In 1938, he attended the Abbey for the final time to see the premiere of his play "Purgatory". His "Autobiographies of William Butler Yeats" was published that same year. The preface for the English translation of Rabindranath Tagore's "Gitanjali" ("Song Offering") (for which Tagore won the Nobel prize in Literature) was written by Yeats in 1913.


title: W. B. Yeats

text: While Yeats's early poetry drew heavily on Irish myth and folklore, his later work was engaged with more contemporary issues, and his style underwent a dramatic transformation. His work can be divided into three general periods. The early poems are lushly pre-Raphaelite in tone, self-consciously ornate, and, at times, according to unsympathetic critics, stilted. Yeats began by writing epic poems such as "The Isle of Statues" and "The Wanderings of Oisin". His other early poems are lyrics on the themes of love or mystical and esoteric subjects. Yeats's middle period saw him abandon the pre-Raphaelite character of his early work and attempt to turn himself into a Landor-style social ironist.


title: W. B. Yeats

text: Critics characterize his middle work as supple and muscular in its rhythms and sometimes harshly modernist, while others find the poems barren and weak in imaginative power. Yeats's later work found new imaginative inspiration in the mystical system he began to work out for himself under the influence of spiritualism. In many ways, this poetry is a return to the vision of his earlier work. The opposition between the worldly-minded man of the sword and the spiritually minded man of God, the theme of "The Wanderings of Oisin", is reproduced in "A Dialogue Between Self and Soul".


title: W. B. Yeats

text: Some critics hold that Yeats spanned the transition from the nineteenth century into twentieth-century modernism in poetry much as Pablo Picasso did in painting; others question whether late Yeats has much in common with modernists of the Ezra Pound and T. S. Eliot variety.


title: W. B. Yeats

text: Modernists read the well-known poem "The Second Coming" as a dirge for the decline of European civilisation, but it also expresses Yeats's apocalyptic mystical theories and is shaped by the 1890s. His most important collections of poetry started with "The Green Helmet" (1910) and "Responsibilities" (1914). In imagery, Yeats's poetry became sparer and more powerful as he grew older. "The Tower" (1928), "The Winding Stair" (1933), and "New Poems" (1938) contained some of the most potent images in twentieth-century poetry.


title: W. B. Yeats

text: Yeats's mystical inclinations, informed by Hinduism, theosophical beliefs and the occult, provided much of the basis of his late poetry, which some critics have judged as lacking in intellectual credibility. The metaphysics of Yeats's late works must be read in relation to his system of esoteric fundamentals in "A Vision" (1925).


title: W. B. Yeats

text: Yeats is commemorated in Sligo town by a statue, created in 1989 by sculptor Rowan Gillespie. On the 50th anniversary of the poet's death, it was erected outside the Ulster Bank, at the corner of Stephen Street and Markievicz Road. Yeats had remarked on receiving his Nobel Prize that the Royal Palace in Stockholm "resembled the Ulster Bank in Sligo". Across the river is the Yeats Memorial Building, home to the Sligo Yeats Society. "" by Henry Moore is displayed in the W. B. Yeats Memorial Garden at St Stephen's Green in Dublin.


title: W. B. Yeats

text: There is a blue plaque dedicated to Yeats at Balscadden House on the Balscadden Road in Howth. This was his cottage home from 1880-1883. In 1957 the London County Council erected a plaque at his former residence on 23 Fitzroy Road, Primrose Hill, London.


title: W. B. Yeats

text: Composer Marcus Paus' choral work "The Stolen Child" (2009) is based on poetry by Yeats. Critic Stephen Eddins described it as "sumptuously lyrical and magically wild, and [...] beautifully [capturing] the alluring mystery and danger and melancholy" of Yeats. Argentine composer Julia Stilman-Lasansky based her cantata No. 4 on text by Yeats.


title: Sean Hannity

text: Sean Patrick Hannity (born December 30, 1961) is an American talk show host, conservative political commentator, and author. He is the host of "The Sean Hannity Show", a nationally syndicated talk radio show, and has also hosted a commentary program, "Hannity", on Fox News, since 2009.


title: Sean Hannity

text: Hannity worked as a general contractor and volunteered as a talk show host at UC Santa Barbara in 1989. He later joined WVNN in Athens, Alabama and shortly afterward, WGST in Atlanta. After leaving WGST, he worked at WABC in New York until 2013. Since 2014, Hannity has worked at WOR.


title: Sean Hannity

text: In 1996, Hannity and Alan Colmes co-hosted "Hannity & Colmes" on Fox. After Colmes announced his departure in January 2008, Hannity merged the "Hannity & Colmes" show into "Hannity".


title: Sean Hannity

text: Hannity has received several awards and honors, including an honorary degree from Liberty University. He has written three "New York Times" best-selling books: ""; ""; and "", and released a fourth, "Live Free or Die", in 2020.


title: Sean Hannity

text: Hannity has promoted numerous conspiracy theories, such as "birtherism" (claims that then-President Barack Obama was not a legitimate U.S. citizen), claims regarding the murder of Seth Rich, and falsehoods about Hillary Clinton's health. Hannity was an early supporter of Donald Trump in the 2016 presidential election. Hannity often acted as an unofficial spokesman for the president, criticizing the media and attacking Robert Mueller's inquiry into Russian interference in Trump's election. He reportedly spoke to Trump on the phone most weeknights. He spoke at the president's lectern during a Trump rally, and White House advisors characterized him as the "shadow" chief of staff. According to "Forbes", by 2018 Hannity had become one of the most-watched hosts in cable news and most-listened-to hosts in talk radio, due in part to his closeness and access to Trump.


title: Sean Hannity

text: Hannity was born in New York City, New York, the son of Lillian (née Flynn) and Hugh Hannity. Lillian worked as a stenographer and a corrections officer at a county jail, while Hugh was a World War II veteran and family-court officer. He was the youngest of four siblings and the only boy. All his grandparents immigrated to the United States from Ireland. He grew up in Franklin Square, New York on Long Island.


title: Sean Hannity

text: In his youth, Hannity worked as a paperboy delivering issues of the "New York Daily News" and the "Long Island Daily Press". His parents were initially supporters of President John F. Kennedy, eventually growing more Republican in their views as time went on, though they resisted being overtly political at home.


title: Sean Hannity

text: Hannity attended Sacred Heart Seminary in Hempstead, New York and St. Pius X Preparatory Seminary in Uniondale, New York. He attended New York University and Adelphi University, but did not graduate from either.


title: Sean Hannity

text: In 1982, Hannity started a house-painting business and a few years later, worked as a building contractor in Santa Barbara, California. He hosted his first talk radio show in 1989 at the volunteer college station at UC Santa Barbara, KCSB-FM, while working as a general contractor. The show aired for 40 hours of air time. Regarding his first show, he said, "I wasn't good at it. I was terrible."


title: Sean Hannity

text: Hannity's weekly show on KCSB was canceled after less than a year after a controversy. During two shows, gay and lesbian rights were discussed in what was considered to be a contentious manner. (See LGBT issues below.) The university board that governed the station later reversed its decision after a campaign conducted on Hannity's behalf by the Santa Barbara chapter of the American Civil Liberties Union argued that the station had discriminated against Hannity's First Amendment rights. When the station refused to issue Hannity a public apology and more airtime, he did not return to KCSB.