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Chapter 2 focuses on the early poetry and drama, in which Yeats discovers the worldmaking potential of art and creates at least two kinds of autonomous imaginary worlds: an impossible one based on the otherworld of faery, a parallel world of nonhuman beings and magical practices, and a possible one based on the private world of the lover and beloved, a world created in the artistic recasting of memory and desire. In the poetry, temporality is recursive and generative, with aspects of the past and future arranged in a nested fashion so that temporal moments are embedded in one another and, in a sense, produce one another. The early drama tends to express this tensed temporality in terms of the confrontation between two worlds: the actual world and the faery otherworld. These tensed temporalities enable both an accommodation of what is outside the realm of human experience and a renewed sense of the nature and limits of that experience. Misprision – the strange deceptions of the faery otherworld on the one hand and the recollected fantasies that structure so many of the early poems on the other – characterizes these new temporal arrangements.
From the sixth century onwards, numerous visions of the afterlife and the otherworld were recorded by authors who operated in the post-Roman barbarian West. The most prevailing characteristics of all these accounts are their brevity and conciseness. More often than not, these stories were integrated into a larger historical or hagiographic narrative, in an attempt to stress various political, religious, or cultural points. It was only towards the end of the Merovingian period, with the composition of the so-called Visio Baronti, that more comprehensive accounts of the afterlife began to appear in the West, and thus paved the way for the emergence of a new literary genre. This chapter discusses the evolution of these narratives, as well as the various possible reasons why travels to the otherworld became a seminal component in the historiographical and hagiographical tradition of the early medieval West.
Where do we go after we die? This book traces how the European Middle Ages offered distinctive answers to this universal question, evolving from Antiquity through to the sixteenth century, to reflect a variety of problems and developments. Focussing on texts describing visions of the afterlife, alongside art and theology, this volume explores heaven, hell, and purgatory as they were imagined across Europe, as well as by noted authors including Gregory the Great and Dante. A cross-disciplinary team of contributors including historians, literary scholars, classicists, art historians and theologians offer not only a fascinating sketch of both medieval perceptions and the wide scholarship on this question: they also provide a much-needed new perspective. Where the twelfth century was once the 'high point' of the medieval afterlife, the essays here show that the afterlives of the early and later Middle Ages were far more important and imaginative than we once thought.
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