Maud Gonne

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Synonyms for Maud Gonne

Irish patriot and a founder of the Sinn Fein (1865-1953)


References in periodicals archive ?
In fact, the "terrible beauty" of Maud Gonne is invoked for a number of reasons, among them as a kind of judgment against a very unheroic Ireland, as in "No Second Troy":
In fact, Yeats had been so enamored of Maud Gonne for such a long time that he could not find any other woman: for 29 years he had proposed to Maud Gonne many times until the age of 52, without success, and when he finally gave it up and proposed to her daughter, Iseult Gonne, who had earlier proposed to him but now rejected him, he turned to Georgie Hyde-Lees, 25 years younger than he.
Maud Gonne in "No Second Troy" is for Yeats analogous to Helen of Troy, the embodiment of marvelous beauty and disastrous annihilation.
The Indian cafe and the occult bookstore that had been forgotten by time, which is immaterial, are gone, and so are the endless rainy afternoons when I sat reading--or trying to read-- the mystical tracts of the Golden Dawn that so inspired Yeats and Maud Gonne, while a cranky one-armed waiter played chess by himself in the comer.
If Pattie was no Maud Gonne or Lou Andreas-Salome or Alma Schindler Mahler Gropius Werfel (of Tom Lehrer's immortal "Which of your magical wands / Got you Gustav and Walter and Franz?
He's kvetching about how all his work for the Irish Republic has earned him only "the daily spite of this unmannerly town" and Maud Gonne reproves him.
Her assessment of Irish politics at the time of the 1898 centenary celebration of the United Irish rising and Connolly's pivotal role in linking republican socialists and younger nationalists to challenge the Home Rule parliamentarians is well informed and gives Maud Gonne due recognition for her work.
Ezra Pound, the brash young American, was foremost among them, and he is central to Yeats's life and career as this volume begins his friend, his editor, his personal secretary, and the best man at his wedding, in fact, if Yeats was most inspired by the liberated and literate women he knew best--his idol Maud Gonne and her daughter Iseult, his mistress Olivia Shakespear, his patroness Lady Gregory, and his young wife Georgie Hyde-Lees--Pound had the most influence on his literary career, because of his uncanny ability to recognize genius in others and his willingness to encourage, publicize, even collaborate with it.
The plot's immediate pivot centers on the arrival in this rural community of English actor John Eastman (played by John Light, his heavy-liddedness at its most apposite), who has been east as Yeats in what sounds like a fairly silly Hollywood film, opposite the Maud Gonne of the full-lipped (if unseen) Hollywood leading lady Alexandra Ryan.
Antithetically, there is his enduring passion for the beautiful revolutionary, Maud Gonne, only once fleetingly consummated, and his transference of it to Iseult, Maud's comely but flighty daughter, complete with contemplated marriage, though never consummated.
In the poem "Fallen Majesty," Yeats repeats the phrase "what's gone," punning on Maud Gonne, the passionate Irish nationalist with whom he was enamored for much of his life, in a manner similar to Petrarch's puns on Laura's name (l'aura, lauro) (Ramazani 25).
Yeats, Ireland's greatest poet, and Maud Gonne, a ravishing English society beauty who was also a flaming torch-bearer for Irish nationalism and founder of Sinn Fein.
Unlike many other heroines, Maud Gonne lives a separate life with her distinct personality in Yeats's works.
The book ends with an afterword briefly commenting on Griffiths's most recent screenplay about Maud Gonne and William Butler Yeats, Willie and Maud.