Abstract
In Leda and the Swan, one of the greatest Anglophone lyric poets of the 20th century W. B. Yeats explores the idea of a single act having tremendous importance for human history. Such a momentous event can bring about the end of civilization and become the dawn of a new age. This is a great cataclysmic moment in history (merging history and myth) for Yeats. The paper suggests that Yeats's sensibilities subtly permeate the narrative and form of Elena Ferrante's The Lost Daughter, thus illustrating the mode of ambiguous past penetrating the present-the tradition that interested Yeats - arguably becoming what in Ferrante has been seen as a form of radical and committed reflection on myriad of contemporary issues. In this context, Yeats and Ferrante communicate the ideas of fragmentation and instability, the sensation of the world crumbling and reforming, and, in doing so, they refer to an instability of boundaries and identities. This is a sensation experienced by both female protagonists - Yeats's mythical Leda and her more contemporary counterpart.
Highlights
In Leda and the Swan, one of the greatest Anglophone lyric poets of the 20th century W
The first has to do with fragmentation and instability, the sensation of the world crumbling and reforming and a feeling that everything we know can be destroyed in an instant; the second refers to an instability of boundaries and identities – a sensation, we will argue, once experienced by the cyclical-cataclysmic sensibilities of W
Considered to be one of the greatest poets of the 20th century, Yeats belonged to the privileged Anglo-Irish minority that had controlled all aspects of life in Ireland
Summary
“The hardest things to talk about are the ones we ourselves can’t understand” (Ferrante, 2008: 2). : “How many damaged, lost things did I have behind me, and yet present, now...” (Ferrante, 2008: 36) In trying to escape their past, Ferrante’s women are fated to fall into what de Rogatis calls the pit, where they become part of a never-ending, almost archetypal line of oppressed women To clarify this point, we refer to scene from Ferrante’s second novel, The Days of Abandonment: NAUČNE PUBLIKACIJE DRŽAVNOG UNIVERZITETA U NOVOM PAZARU Serija B: Društvene & humanističke nauke (2021), 4(2), 74-84 UDC: 3 ISSN: 2619-998X “The mother imposes her own negative legacy, dragging her daughter into the vortex of an ancient world where she risks repeating the same suicidal act carried out by countless unknown women. We turn to Yeats’s sensibilities and a lasting ambiguity in dealing with how past develops and shatters present, i.e. reality we know
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