Yeats's father, John Butler Yeats, was a barrister who eventually became a portrait painter. His mother, formerly Susan Pollexfen, was the daughter of a prosperous merchant in Sligo, in western Ireland. Through both parents Yeats claimed kinship with various Anglo-Irish Protestant families who are mentioned in his work. Normally, Yeats would have been expected to identify with his Protestant tradition—which represented a powerful minority among Ireland's predominantly Roman Catholic population—but he did not. Indeed, he was separated from both historical traditions available to him in Ireland—from the Roman Catholics, because he could not share their faith, and from the Protestants, because he felt repelled by their concern for material success. Yeats's best hope, he felt, was to cultivate a tradition more profound than either the Catholic or the Protestant—the tradition of a hidden Ireland that existed largely in the anthropological evidence of its surviving customs, beliefs, and holy places, more pagan than Christian.
In 1867, when Yeats was only two, his family moved to London, but he spent much of his boyhood and school holidays in Sligo with his grandparents. This country—its scenery, folklore, and supernatural legend—would colour Yeats's work and form the setting of many of his poems. In 1880 his family moved back to Dublin, where he attended the high school. In 1883 he attended the Metropolitan School of Art in Dublin, where the most important part of his education was in meeting other poets and artists.
Meanwhile, Yeats was beginning to write: his first publication, two brief lyrics, appeared in the Dublin University Review in 1885. When the family moved back to London in 1887, Yeats took up the life of a professional writer. He joined the Theosophical Society, whose mysticism appealed to him because it was a form of imaginative life far removed from the workaday world. The age of science was repellent to Yeats; he was a visionary, and he insisted upon surrounding himself with poetic images. He began a study of the prophetic books of William Blake, and this enterprise brought him into contact with other visionary traditions, such as the Platonic, the Neoplatonic, the Swedenborgian, and the alchemical.
Yeats was already a proud young man, and his pride required him to rely on his own taste and his sense of artistic style. He was not boastful, but spiritual arrogance came easily to him. His early poems, collected in The Wanderings of Oisin, and Other Poems (1889), are the work of an aesthete, often beautiful but always rarefied, a soul's cry for release from circumstance.
Yeats quickly became involved in the literary life of London. He became friends with William Morris and W.E. Henley, and he was a cofounder of the Rhymers' Club, whose members included his friends Lionel Johnson and Arthur Symons. In 1889 Yeats met Maud Gonne, an Irish beauty, ardent and brilliant. From that moment, as he wrote, “the troubling of my life began.” He fell in love with her, but his love was hopeless. Maud Gonne liked and admired him, but she was not in love with him. Her passion was lavished upon Ireland; she was an Irish patriot, a rebel, and a rhetorician, commanding in voice and in person. When Yeats joined in the Irish nationalist cause, he did so partly from conviction, but mostly for love of Maud. When Yeats's play Cathleen ni Houlihan was first performed in Dublin in 1902, she played the title role. It was during this period that Yeats came under the influence of John O'Leary, a charismatic leader of the Fenians, a secret society of Irish nationalists.
After the rapid decline and death of the controversial Irish leader Charles Stewart Parnell in 1891, Yeats felt that Irish political life lost its significance. The vacuum left by politics might be filled, he...