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17 By 19 March 1923, Yeats had completed preparing copy for the volume—which by then also included Four Plays for Dancers (1921) and was to be called Plays and Controversies. 18 Forwarding the copy to Macmillan on 25 June 1923, Watt quoted from a letter “just received” which Yeats “wrote to me on 19 March but did not post”: “I send you the materials for the next volume in my collected edition” (BL 54898÷243-44). Macmillan acknowledged receipt of the copy on 27 June 1923 (BL 55589÷344) and did not delay long in putting the work into production.

YEATS ÷ DE LUXE EDITION” and forwarded them to Watt on 27 October 1936 (BL 55786÷497), asking Yeats to annotate and return one copy and retain the other. Watt was able to send the copy with Yeats’s comments to Macmillan on 10 November 1936 (BL 54903÷148), Macmillan receiving it on 12 November 1936 (BL 55787÷362). ”23 Probably at some time after 14 November 1936, when Macmillan refused to let Scribner’s have their proofs for the Edition de Luxe (55787÷444-45), Yeats added a note indicating that they should take the text of The Irish Dramatic Movement from Plays and Controversies.

However, neither piece had been included in that volume. CL3 439n1 incorrectly states that the earlier letter was included in Samhain. 4 For this issue, the Dublin imprint was that of Maunsel & Co. and the English imprint that of A. H. Bullen, though the printing continued to be done in Dublin by Sealy, Bryers & Walker. 5 The Berg Collection at the New York Public Library also has a one-page “Supplement to ‘The Arrow,’” dated 8 December 1906, which offers an engraving of Queen Elizabeth by William Rogers and “Captain Headley’s Song” from Lady Gregory’s The Canavans.

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