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This thesis deals with the origins of the division between labour and inspiration, and with its consequences for the production of poetry in the Romantic period, looking at the relationship between knowledge and skill, poetry and other disciplines, speculative knowledge and the accumulation of insulated facts, and labour and idleness. I want to suggest that these multiple social and cognitive divisions do not just separate different kinds of work from each other, but internally divide them, and that the distortions introduced into them thereby may be discovered, by patient analysis, in the smallest cells of their practice. It focusses on the poetry of William Wordsworth, on the literary, political, and philosophical writings of his contemporaries, and on the ways in which they experienced poetry.

This thesis explores the work and lives of composers who set Hardy's verse to music during his lifetime and seeks to identify the place of Hardy song settings in English musical history and in the personal history of their composers. It also gives evidence that Hardy possessed an extraordinary musical memory, and that, to an extent that has not been appreciated, he consciously wrote various poems for musical settings.

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Chapter One examines the personal and literary background of the founders or The Nation, studies Duffy's first newspaper, The Vindicator (1839-42), but finds it unimpressive an a literary organ. Chapter Two examines the true poetry policy of The Nation, produces evidence of an unexpected variety in the poetry of the first year but concedes that the tone of the year's political poetry is responsible for the derogatory terms coat frequently used about "Young Ireland" poetry. Chapter Three examines the poetry of year two, dispels the myth of uniformity of style and tone, even in political poetry, and demonatrates the movement away from political and propagandistic verse. It further proves that non political poets considerably outnumber political in year three and that The Elation adopted a policy for poetry much more liberal than it had originally proposed. Chapter Four again demonstrates that the poetry of year four was predominantly non political and argues that this year produced the paper's best poetry in the Gaelic translations of Mangan. It further shows how the movement away from political verse continued in year five, a year in which dependence on the poetesses "Mary", "Iva" and "Speraaza" became considerable and notes that disillusionment with O'Connell was the main theme in political poetry. The chapter concludes by regretting; the dimming of The Nation's noble literary experiment in year six when, after the outbreak of revolution in France, the paper allowed its literary columns to be flooded with wretched political verse. Chapter Five argues that Yeats's main criticisms of "Young Ireland" poetry were based mainly on the unrepresentative anthology. The Spirit of the Nation and that personal animosity influenced his literary pronouncements after his defeat by Cavan Duffy in the Nov Irish Library dispute. Chapter Six argues the need for a properly representative anthology of "Young Ireland" poetry.

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This study investigates William Butler Yeats’s relationship to the issues of colonialism and anti-colonialism and his stance as a postcolonial poet. A considerable part of Yeats criticism has read him either as a revolutionary and anti-colonial figure or a poet with reactionary and colonialist mentality. The main argument of this thesis is that in approaching Yeats’s position as a (post)colonial poet, it is more fruitful to avoid an either / or criticism and instead to foreground the issues of change, circularity, and hybridity. The theoretical framework is based on Homi Bhabha’s analysis of the complicated relationship between the colonizer and the colonized identities. It is argued that Bhabha’s views regarding the hybridity of the colonial subject, and also the inherent complexity and ambiguity in the relationship between the colonizer and the colonized can provide us with a better understating of the Irish poet’s complex interactions with Irish nationalism and British colonialism. By a close reading of some of Yeats’s works from different periods of his long career, it is shown that most of the time he adopted a double, ambiguous, and even contradictory position with regard to his political loyalties. It is suggested that the very presence of tensions and uncertainties which permeates Yeats’s writings and utterances should warn us against a monolithic, static, and unchanging reading of his colonial identity. Finally, it is argued that a postcolonial approach which focuses on the issue of diversity and hybridity of the colonial subject can increase our awareness of Yeats’s complex role in and his conflicted relationship with a colonized and then a (partially) postcolonial Ireland.