"He has chosen death: Refusing to eat or drink, that he may bring Disgrace upon me; for there is a custom, An old and foolish custom, that if a man Be wronged, or think that he is wronged, and starve Upon another's threshold till he die, The common people, for all time to come, Will raise a heavy cry against that threshold, Even though it be the King's." from The King's Threshold

The King's Threshold was first performed in Dublin by the Irish National Theatre Society in 1903 and first published in New York in 1904. The Cornell Yeats edition of this play about a bard's hunger strike includes the preliminary notes and first prose drafts dictated by Yeats to his patron and collaborator, Lady Gregory, in March and April 1903. As well as providing an outline of the play, these preliminary notes identify contemporary persons on whom some of the characters were based.

Other features of this edition of The King's Threshold include Yeats's first blank verse drafts, heavily revised and corrected typescripts and galley proofs, and notes for the changes made between 1904 and 1906. A major revision added a tragic ending to the version published in 1922, and this ending has remained in place ever since. Uniquely, this edition presents all four versions of the play, spanning thirty years of Yeats's efforts to perfect it. Declan Kiely presents the biographical and historical context of the play's genesis and Yeats's revisions, and gives accounts of several productions and revivals of the play. The Introduction also explores the relationship between theatrical production and textual revision."

Depicting characters like the eponymous young sculptor in Roderick Hudson and spaces like the crowded galleries in The Wings of the Dove, Henry James’s iconic novels reflect the significance of the visual culture of his society. In this book, novelist and critic Colm Tóibín joins art historian Marc Simpson and Declan Kiely of The Morgan Library & Museum to reveal how essential the language and imagery of the arts—and friendships with artists—were to James’s writing. The authors consider the paintings, photographs, drawings, and sculpture produced by artists in James’s circle, assess how his pictorial aesthetic developed, and discuss why he destroyed so many personal documents and what became of those that survived. In examining works by figures such as John La Farge, Hendrik Andersen, and John Singer Sargent alongside selections from James’s novels, personal letters, and travel writings, Tóibín, Simpson, and Kiely explore the novelist’s artistic and social milieu. They show him to be a writer with a painterly eye for colors and textures, shapes and tastes, and for the blending of physical and psychological impressions. In many cases, the characters populating James’s fiction are ciphers for his artist friends, whose demeanors and experiences inspired James to immortalize them on the page. He also wrote critically about art, most notably about the work of his friend Sargent. A refreshing new perspective on a master novelist who was greatly nourished by his friendships with artists, Henry James and American Painting reveals a James whose literary imagination, in Tóibín’s words, “seemed most at ease with the image� and the work of creating fully realized portraits of his characters.