ABSTRACT
Katharine Cockin explores W. B. Yeats’s involvement in a short-lived hand-coloured little magazine, The Green Sheaf (1903). New and ephemeral cultural formations, especially clubs, societies, magazines and journals, characterised the challenging aesthetic interventions which have come to be described as ‘Modernist’. Cockin rightly points up the fact that narratives of Modernist cultural forms have a tendency for the theatre to be overlooked. For Yeats, the intensity of drama meant that it was the ultimate art form, but Cockin illuminates this pivotal moment in Yeats’s turn to the theatre by retrieving the influence exerted by Edith Craig and Pamela Colman Smith.
