by Colm Toibin
She also had money. He wrote to his father: ‘She is a great student of my subjects and has enough money to put us above anxiety and not too much money. Her means are a little more than my earnings and will increase later, but our two incomes together will keep us in comfort.’ They were married in October 1917. He was fifty-two; his new wife, soon to call herself George, was twenty-five. Ezra Pound, best man at the wedding, wrote to John Quinn in New York to say that he had known George Hyde-Lees as long as he had known his wife, who had been her best friend; he found her sensible and thought she would ‘perhaps dust a few cobwebs out of his belfry. At any rate she won’t be a flaming nuissance [sic] to him and his friends.’
Yeats wrote about their honeymoon in the introduction to A Vision:
On the afternoon of 24 October 1917, four days after my marriage, my wife surprised me by attempting automatic writing. What came in disjointed sentences, in almost illegible writing, was so exciting, sometimes so profound, that I persuaded her to give an hour or two day after day to the unknown writer … When the automatic writing began we were in a hotel on the edge of the Ashdown Forest, but soon returned to Ireland and spent much of 1918 at Glendalough, at Rosses Point, at Coole Park, at a house near it, at Thoor Ballylee, always more or less solitary, my wife bored and fatigued by her almost daily task and I thinking and talking of little else.
The first volume of Roy Foster’s biography of Yeats, taking us up to 1914, showed that while no statement or public position by Yeats could be taken at face value, this did not mean that he was a chameleon or in a permanent state of vagueness. He was, it seemed, a chameleon when it suited his imaginative purpose or while he was on the Irish Sea. Once arrived, he could be full of firm and combative conviction. In writing about his life Foster manages an alertness to Yeats’s political skills and certainties and his sense of command, and, at the same time, offers a nuanced reading of Yeats’s protean enthusiasms and loyalties.
The slow release of Yeats’s papers and letters over the past sixty years has helped to establish this sense of a Yeatsian self in constant re-creation. Ann Saddlemyer’s biography of George Yeats offers a more taxing version of the life of Mrs Yeats than Brenda Maddox’s George’s Ghosts (1999), but it does not solve the mysteries surrounding the relationship between Yeats’s marriage and his work: it makes them instead more fascinating and more open to different readings and interpretations.
George Hyde-Lees’s interest in the occult, which began a number of years before she met Yeats, was part of the spirit of the age. In 1891, the year before George’s birth, Alice James confided to her diary: ‘I suppose the thing “medium” has done has been more to degrade spiritual conception than the grossest form of materialism or idolatry: was there ever anything transmitted but the pettiest, meanest, coarsest facts and details: anything rising above the squalid intestines of human affairs?’ Despite her objections, the James family continued to believe in transactions with the spirit world. When, in 1905, during a séance in Boston, a medium spoke in the presence of Mrs William James of a communication from a ‘Mary’ to Henry, the message was dutifully passed on to Henry James in England, who wrote that it was his ‘dear Mother’s unextinguished consciousness breaking through the interposing vastness of the universe and pouncing upon the first occasion helpfully to get at me’. Both James in his stories and Thomas Mann in The Magic Mountain (1924) understood the power that ghosts and séance scenes held in the imaginations of their readers. During the First World War, as Maddox says, ‘grieving millions turned to the spiritualist movement, searching for messages from their lost men’. Arthur Conan Doyle wrote: ‘I seemed suddenly to see that it was really something tremendous, a breakdown of walls between two worlds, a direct undeniable message from beyond, a call of hope and of guidance to the human race at the time of its deepest affliction.’
Both Yeats in the 1880s and his future wife thirty years later would use the occult movement in London as a way of educating themselves outside the confines of a university. Yeats described his early involvement with men ‘who had no scholarship, and they spoke and wrote badly, but they discussed great problems ardently and simply and unconventionally as men, perhaps, discussed great problems in the medieval universities’. In 1911, when she was nineteen, George Hyde-Lees’s stepfather gave her a copy of William James’s Pragmatism, which asserted that ‘the true is the name of whatever proves itself to be good in the way of belief’. She continued to admire William James’s writing throughout her life. By 1912 she was attending lectures on early religion and mysticism and reading widely on medieval and Eastern religion. She applied for a reading ticket for the British Museum, expressing her interest in reading ‘all available literature on the religious history of the first three centuries’. By the summer of 1913 she was including the study of the supernormal in her reading; her attendance at séances in London may have begun as early as the previous year. Soon she became interested in astrology. Her study was as serious and systematic as circumstances would allow, helped by an ambitious mother and a private income, and a knowledge of Italian and Latin. She was a regular visitor to her friend Dorothy Shakespear at her London flat after she married Ezra Pound in 1914; her relationship with the Pounds increased the breadth of her reading as well as offering her, and indeed her mother, an example of how someone with her unusual mixture of cleverness, earnestness and independence of mind might marry.
In this world of esoteric reading, leisured mysticism, visiting lecturers and poets making it new, Yeats had iconic status.
George’s mother knew him: her second husband’s sister was Olivia Shakespear, Dorothy’s mother, with whom Yeats had had an affair and remained on good terms. George met Yeats in 1911. She remembered vividly that she saw him and recognized him one morning in the British Museum, and later that same day while he was taking tea with her mother at Olivia Shakespear’s she was introduced to him. He was three years older than her mother and the same age as her father, who had been dead for two years, would have been. Over the next while, as George’s mother and her circle sojourned outside London, they were joined by the poet on a number of occasions. In February 1912 Yeats wrote to Lady Gregory: ‘I am at Margate with a Mr and Mrs Tucker (she was a Mrs Hyde-Lees who I have known vaguely for years). I got rather out of sorts, digestion wrong & so on & wanted to do nothing for a day or two … This is a dismal place & it rains all day but it is very quiet & a good change & I am with pleasant people & out of the Dublin atmosphere.’
Yeats was responsible for the induction with great ceremony and solemnity of George Hyde-Lees into the Hermetic Order of the Golden Dawn, a sort of Masonic Lodge for those interested in the occult, in July 1914. Here once again her dutiful, serious-minded, studious self emerged as she made her way through the Order’s elaborate stages, arriving at the same level as Yeats by 1917. In these years, as the war intensified, she worked as a parttime volunteer orderly and nurse in London while continuing her reading and visits to the British Museum. At the end of February 1917 she and Yeats went together to a séance; it seems that the following month he discussed with her the possibility of marriage. He did not then formally propose, but instead left her waiting while he dallied with Maud Gonne and her daughter.
When he did propose, six months later, she accepted him. He described himself as ‘a Sinbad who after many misadventures has at last found port’, but in the days that followed explained his plans for a continuing familiarity not only with Maud Gonne but with her daughter Iseult. He made this clear to his betrothed and, in turn, to her mother. Her mother wrote in alarm to Lady Gregory, the person who she knew could most influence Yeats, and one of the few who was already aware of the engagement: ‘I now find this engagement is based on a series of misconceptions so incredible that only the context can prove them to be misconceptions.’ Her daughter, she wrote, believed that the poet had wanted to marry her for some time, but the mother’s own impression now was that, instead, ‘the idea occurred to him that as he wanted to marry, she might
do’. George, she wrote,
is under the glamour of a great man thirty years older than herself & with a talent for love-making. But she has a strong and vivid character and I can honestly assure you that nothing could be worse for her than to be married in this manner … If Georgie had an inkling of the real state of affairs she would never consent to see him again; if she realized it after her marriage she would leave him at once.
Having interrogated the poet, who had come to Coole, Lady Gregory, in a letter that is now lost, seems to have tried to reassure the mother. She wrote also to George, expressing the hope that she would come to Galway soon before the floods rose above Ballylee, the ruined castle that Yeats had bought a year earlier. George, in the meantime, had been brought by Yeats to meet Maud Gonne and Iseult. Maud wrote to Yeats:
I find her graceful & beautiful, & in her bright picturesque dresses, she will give life and added beauty to the grey walls of Ballylee. I think she has an intense spiritual life of her own & on this side you must be careful not to disappoint her … Iseult likes her very much, and Iseult is difficult & does not take to many people.
Despite this, she told others that she believed the marriage to be ‘prosaic’. Arthur Symons wrote to John Quinn: ‘I wish you had heard Maude [sic] laugh at Yeats’s marriage – a good woman of 25 – rich of course – who has to look after him; who might either become his slave or run away from him after a certain length of time.’
Thus in October 1917 George Hyde-Lees found herself on her honeymoon with W. B. Yeats, who was suffering from nervous stomach disorders. They went first to his flat in London and then to a hotel, where he received a note from Iseult wishing him well. Later, George told an interviewer that she felt him ‘drifting away from her’. He wrote to Iseult making clear his belief that he had made a mistake. Both he and George were miserable. Yeats began work on the poem about Iseult Gonne that eventually became ‘Owen Aherne and His Dancers’, using a notebook that Maud Gonne had given him:
I can exchange opinion with any
neighbouring mind
I have as healthy flesh & blood as any
rhymer’s had,
But oh my heart could bear no more when the upland caught the wind;
I ran, I ran from my love’s side because my
heart went mad.
‘What followed,’ Saddlemyer writes,
has been described several times by George herself … Fully aware of the reason for his unhappiness, first she contemplated leaving him. But then, reluctant to surrender what had been for so many years her destination, she considered arousing his interest through their joint fascination with the occult. She decided to ‘make an attempt to fake automatic writing’ and then confess to her deception once her distracted husband was calmer.
George made this admission that she faked it in the early 1950s to Virginia Moore, who was researching her book The Unicorn: William Butler Yeats’ Search for Reality. Yeats remembered the first words as: ‘With the bird all is well at heart. Your action was right for both but in London you mistook its meaning.’ George remembered writing: ‘What you have done is right for both the cat and the hare.’ Yeats would have understood that she was the cat and Iseult the hare or the bird. George’s hand continued to move and wrote, according to Yeats: ‘You will neither regret nor repine.’
‘The word “fake” would continue to haunt George, even though it was a phrase she herself employed in speaking with Virginia Moore and Ellmann,’ Saddlemyer writes. In 1961, when Norman Jeffares was writing his introduction to Yeats’s Selected Poems, she wrote to him: ‘I dislike your use of the word “Fake” … I told you this before & you had a happier phrasing in your book. However, I cannot ask you to alter this. The word “Fake” will go down to posterity.’
The words she wrote, in any case, worked wonders. Within days, Yeats described his new happiness to Lady Gregory: ‘The strange thing was that within half an hour after writing of this message my rheumatic pains & my neuralgia & my fatigue had gone & I was very happy. From being more miserable than I ever remember being since Maud Gonne’s marriage I became extremely happy. That sense of happiness has lasted ever since.’
It is easy to understand George’s objection to the word ‘fake’, despite her own use of it. By the time she spoke of these events to young and eager scholars, séances and the occult and automatic writing had gone well out of vogue. Also, the memory of what it was like in that hotel room on her honeymoon with the great poet must have been raw beyond explanation, easier to dismiss casually than explain carefully. Using the word ‘fake’ herself was defensive; seeing someone else using it made it different.
Before she married him, she knew Yeats’s work, attended his lectures and bought his books; she knew of his love for Maud Gonne and his affair with her stepfather’s sister. She knew also of his love for Iseult Gonne and may even have known of her mother’s letter to Lady Gregory. She realized now not only that the famous poet did not love her and had married her on a whim, but that the idea of the poet, which would have fascinated her, was far removed from the grumpy, sickly, indifferent and miserable man with whom she was now confined in a small space.
In her panic that day, as she began to write in the room, neither her motive nor the language that came to her can be accurately described, however, as fake. What happened was that her needs and her reading converged as she began to eroticize the occult and its attendant forces, just as Maud Gonne had done with Irish nationalism. She was working with desperate longings under pressure; she was producing sentences that made those apparent, followed by words that came at will, easily, from her conscious and her unconscious selves, brought closer to each other by a fear and pain that offered her an unusual receptivity. It seemed that she both believed and didn’t believe in what she was doing. She was moving deliberately and sleepwalking at the same time. Ellmann’s interview notes with her from 1946 read: ‘Had it not been for the emotional involvement, she thinks nothing would have come of it – but as it was she felt her hand grasped and driven irresistibly.’
Yeats was tireless and unembarrassed in his questioning of the spirit, asking many questions, for example, about former loves. And she, in turn, allowed the automatic writing at times to make clear her own sexual needs. In this strange time between the prevailing influence of Madame Blavatsky and that of Sigmund Freud, they both remained ambivalent about the power of a medium to control the autonomous power of the unconscious mind. In 1913 Yeats wrote: ‘Because mediumship is dramatisation, even host mediums cheat at times either deliberately or because some part of the body has freed itself from control of the waking will, and almost always truth and lies are mixed together.’ George’s problem was that she was now, on a daily basis, embodying this dramatization, in all its ambiguities and complexities. She was both cheating and allowing some part of herself to be freed from conscious control.
She was moving in dangerous territory, having been enough in occult circles to know how much opprobrium was heaped on the quack and the fake. Her husband needed her to keep working, especially once the medium said, in a beautiful phrase, that he had come ‘to give you metaphors for poetry’; she needed him, in turn, to stop talking in public about it, and she used the medium to warn him to be silent. She told Ellmann that her only serious quarrel with him in all the years of their marriage concerned his wish to publish a description of her automatic writing in the second edition of A Vision.
The medium gave him, as promised, metaphors for poetry. The experience, and her wish to keep it hidden, also gave him one of his narrative poems, ‘The Gift of Harun Al-Rashid’, in which the woman in her sleep offers the scholar hidden knowledge:
Or was it she that spoke or some great Djinn?
I say that a Djinn spoke. A live-long hour
She seemed the learned man and I the child.
The narrator has cause to wonder, as George must have done in those early months of their marriage, if the sleeping wisdom that she offers is the sole basis for his love:
/>
What if she lose her ignorance and so
Dream that I love her only for the voice,
That every gift and every word of praise
Is but a payment for that midnight voice
That is to age what milk is to a child?
His reply to that question must have been of considerable interest:
All, all those gyres and cubes and midnight things
Are but a new expression of her body
Drunk with the bitter sweetness of her youth.
And now my utmost mystery is out.
A woman’s beauty is a storm-tossed banner.
When George went with her husband to Ireland soon after her marriage, every move she made was studied intensely by the five women who were most involved with the poet. They were his unmarried sisters Lily and Lolly; Maud Gonne and Iseult; and Lady Gregory. The fact that George managed never to quarrel with any of them while maintaining her distance from each says a great deal about her patience and her temperament.
Lily and Lolly wrote to their father in New York describing their new sister-in-law. ‘You feel that she has plenty of personality but that her disposition is so amiable that she does not often assert herself,’ Lolly wrote, ‘not from inertness but because she is happiest in agreement with people around her.’ When they went to the Abbey Theatre, Lily noticed that ‘when the lights went down George used to sit forward and look round me at him, smile to herself and sit back again’. When George’s daughter Anne was born in 1919 and son Michael in 1921, the sisters became enthusiastic babysitters and general chroniclers of their brother’s household. ‘I think George enjoys the thrill she gets when she gives her name in shops,’ Lolly wrote. ‘Mrs W. B. Yeats.’ Lily thought her sister-in-law ‘delightfully sane, just think of all the pests of women that are going about who suffer from nerves and think it soul – and so does some unlucky man till he marries them – Willy is in luck.’
