by W. B. Yeats
And yet they speak what’s blown into the mind;
Deformed beyond deformity, unformed,
Insipid as the dough before it is baked,
They change their bodies at a word.
AHERNE
And then?
ROBARTES
When all the dough has been so kneaded up
That it can take what form cook Nature fancy
The first thin crescent is wheeled round once more.
AHERNE
But the escape; the song’s not finished yet.
ROBARTES
Hunchback and saint and fool are the last crescents.
The burning bow that once could shoot an arrow
Out of the up and down, the wagon wheel
Of beauty’s cruelty and wisdom’s chatter,
Out of that raving tide is drawn betwixt
Deformity of body and of mind.
AHERNE
Were not our beds far off I’d ring the bell,
Stand under the rough roof-timbers of the hall
Beside the castle door, where all is stark
Austerity, a place set out for wisdom
That he will never find; I’d play a part;
He would never know me after all these years
But take me for some drunken country man;
I’d stand and mutter there until he caught
‘Hunchback and saint and fool,’ and that they came
Under the three last crescents of the moon,
And then I’d stagger out. He’d crack his wits
Day after day, yet never find the meaning.
And then he laughed to think that what seemed hard
Should be so simple — a bat rose from the hazels
And circled round him with its squeaky cry,
The light in the tower window was put out.
THE CAT AND THE MOON
The cat went here and there
And the moon spun round like a top,
And the nearest kin of the moon
The creeping cat looked up.
Black Minnaloushe stared at the moon,
For wander and wail as he would
The pure cold light in the sky
Troubled his animal blood.
Minnaloushe runs in the grass,
Lifting his delicate feet.
Do you dance, Minnaloushe, do you dance?
When two close kindred meet
What better than call a dance,
Maybe the moon may learn,
Tired of that courtly fashion,
A new dance turn.
Minnaloushe creeps through the grass
From moonlit place to place,
The sacred moon overhead
Has taken a new phase.
Does Minnaloushe know that his pupils
Will pass from change to change,
And that from round to crescent,
From crescent to round they range?
Minnaloushe creeps through the grass
Alone, important and wise,
And lifts to the changing moon
His changing eyes.
THE SAINT AND THE HUNCHBACK
HUNCHBACK
Stand up and lift your hand and bless
A man that finds great bitterness
In thinking of his lost renown.
A Roman Caesar is held down
Under this hump.
SAINT
God tries each man
According to a different plan.
I shall not cease to bless because
I lay about me with the taws
That night and morning I may thrash
Greek Alexander from my flesh,
Augustus Caesar, and after these
That great rogue Alcibiades.
HUNCHBACK
To all that in your flesh have stood
And blessed, I give my gratitude,
Honoured by all in their degrees,
But most to Alcibiades.
TWO SONGS OF A FOOL
I
A speckled cat and a tame hare
Eat at my hearthstone
And sleep there;
And both look up to me alone
For learning and defence
As I look up to Providence.
I start out of my sleep to think
Some day I may forget
Their food and drink;
Or, the house door left unshut,
The hare may run till it’s found
The horn’s sweet note and the tooth of the hound.
I bear a burden that might well try
Men that do all by rule,
And what can I
That am a wandering witted fool
But pray to God that He ease
My great responsibilities.
II
I slept on my three-legged stool by the fire,
The speckled cat slept on my knee;
We never thought to enquire
Where the brown hare might be,
And whether the door were shut.
Who knows how she drank the wind
Stretched up on two legs from the mat,
Before she had settled her mind
To drum with her heel and to leap:
Had I but awakened from sleep
And called her name she had heard,
It may be, and had not stirred,
That now, it may be, has found
The horn’s sweet note and the tooth of the hound.
ANOTHER SONG OF A FOOL
This great purple butterfly,
In the prison of my hands,
Has a learning in his eye
Not a poor fool understands.
Once he lived a schoolmaster
With a stark, denying look,
A string of scholars went in fear
Of his great birch and his great book.
Like the clangour of a bell,
Sweet and harsh, harsh and sweet,
That is how he learnt so well
To take the roses for his meat.
THE DOUBLE VISION OF MICHAEL ROBARTES
I
On the grey rock of Cashel the mind’s eye
Has called up the cold spirits that are born
When the old moon is vanished from the sky
And the new still hides her horn.
Under blank eyes and fingers never still
The particular is pounded till it is man,
When had I my own will?
Oh, not since life began.
Constrained, arraigned, baffled, bent and unbent
By these wire-jointed jaws and limbs of wood,
Themselves obedient,
Knowing not evil and good;
Obedient to some hidden magical breath.
They do not even feel, so abstract are they,
So dead beyond our death,
Triumph that we obey.
II
On the grey rock of Cashel I suddenly saw
A Sphinx with woman breast and lion paw,
A Buddha, hand at rest,
Hand lifted up that blest;
And right between these two a girl at play
That it may be had danced her life away,
For now being dead it seemed
That she of dancing dreamed.
Although I saw it all in the mind’s eye
There can be nothing solider till I die;
I saw by the moon’s light
Now at its fifteenth night.
One lashed her tail; her eyes lit by the moon
Gazed upon all things known, all things unknown,
In triumph of intellect
With motionless head erect.
That other’s moonlit eyeballs never moved,
Being fixed on all things loved, all things unloved,
Yet little peace he had
For those that love are sad.
Oh, little did they care who danced between,
And little she by whom her dance was seen
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So that she danced. No thought,
Body perfection brought,
For what but eye and ear silence the mind
With the minute particulars of mankind?
Mind moved yet seemed to stop
As ‘twere a spinning-top.
In contemplation had those three so wrought
Upon a moment, and so stretched it out
That they, time overthrown,
Were dead yet flesh and bone.
III
I knew that I had seen, had seen at last
That girl my unremembering nights hold fast
Or else my dreams that fly,
If I should rub an eye,
And yet in flying fling into my meat
A crazy juice that makes the pulses beat
As though I had been undone
By Homer’s Paragon
Who never gave the burning town a thought;
To such a pitch of folly I am brought,
Being caught between the pull
Of the dark moon and the full,
The commonness of thought and images
That have the frenzy of our Western seas.
Thereon I made my moan,
And after kissed a stone,
And after that arranged it in a song
Seeing that I, ignorant for so long,
Had been rewarded thus
In Cormac’s ruined house.
MICHAEL ROBARTES AND THE DANCER
This 1921 anthology includes one of Yeats’ most famous poems. The Second Coming was composed in 1919 and printed in The Dial the following year. The poem adopts Christian imagery of the Apocalypse and the second coming of Christ as an allegory to describe the atmosphere in post-war Europe. Now considered a major work of Modernist poetry, the poem has been construed as representing the French Revolutions, the Irish rebellion and the Russian Revolution of 1917.
In the early drafts of the poem, Yeats used the title The Second Birth, but substituted the phrase The Second Coming, opting for a reference to the Book of Revelation. However, instead of the appearance of Christ in the poem, Yeats describes a ‘rough beast’, suggesting The Beast in Revelation and the figure of the Antichrist. This sphinx-like beast had long captivated Yeats’ imagination. He later wrote in the introduction to his play The Resurrection, “I began to imagine as always at my left side, just out of the range of sight, a brazen winged beast which I associated with laughing, ecstatic destruction”, noting that the beast was “afterwards described in my poem The Second Coming.” Since its first publication in 1920, the poem has intrigued readers across the world, encouraging many different interpretations of the enigmatic imagery.
The first edition
CONTENTS
MICHAEL ROBARTES AND THE DANCER
SOLOMON AND THE WITCH
AN IMAGE FROM A PAST LIFE
UNDER SATURN
EASTER, 1916
SIXTEEN DEAD MEN
THE ROSE TREE
ON A POLITICAL PRISONER
THE LEADERS OF THE CROWD
TOWARDS BREAK OF DAY
DEMON AND BEAST
THE SECOND COMING
A PRAYER FOR MY DAUGHTER
A MEDITATION IN TIME OF WAR
TO BE CARVED ON A STONE AT THOOR BALLYLEE
Yeats, c. 1920
MICHAEL ROBARTES AND THE DANCER
He. Opinion is not worth a rush;
In this altar-piece the knight,
Who grips his long spear so to push
That dragon through the fading light,
Loved the lady; and it’s plain
The half-dead dragon was her thought,
That every morning rose again
And dug its claws and shrieked and fought.
Could the impossible come to pass
She would have time to turn her eyes,
Her lover thought, upon the glass
And on the instant would grow wise.
She. You mean they argued.
He. Put it so;
But bear in mind your lover’s wage
Is what your looking-glass can show,
And that he will turn green with rage
At all that is not pictured there.
She. May I not put myself to college?
He. Go pluck Athena by the hair;
For what mere book can grant a knowledge
With an impassioned gravity
Appropriate to that beating breast,
That vigorous thigh, that dreaming eye?
And may the devil take the rest.
She. And must no beautiful woman be
Learned like a man?
He. Paul Veronese
And all his sacred company
Imagined bodies all their days
By the lagoon you love so much,
For proud, soft, ceremonious proof
That all must come to sight and touch;
While Michael Angelo’s Sistine roof
His ‘Morning’ and his ‘Night’ disclose
How sinew that has been pulled tight,
Or it may be loosened in repose,
Can rule by supernatural right
Yet be but sinew.
She. I have heard said
There is great danger in the body.
He. Did God in portioning wine and bread
Give man His thought or His mere body?
She. My wretched dragon is perplexed.
He. I have principles to prove me right.
It follows from this Latin text
That blest souls are not composite,
And that all beautiful women may
Live in uncomposite blessedness,
And lead us to the like — if they
Will banish every thought, unless
The lineaments that please their view
When the long looking-glass is full,
Even from the foot-sole think it too.
She. They say such different things at school.
SOLOMON AND THE WITCH
AND thus declared that Arab lady:
‘Last night, where under the wild moon
On grassy mattress I had laid me,
Within my arms great Solomon,
I suddenly cried out in a strange tongue
Not his, not mine.’
Who understood
Whatever has been said, sighed, sung,
Howled, miau-d, barked, brayed, belled, yelled, cried, crowed,
Thereon replied: ‘A cockerel
Crew from a blossoming apple bough
Three hundred years before the Fall,
And never crew again till now,
And would not now but that he thought,
Chance being at one with Choice at last,
All that the brigand apple brought
And this foul world were dead at last.
He that crowed out eternity
Thought to have crowed it in again.
For though love has a spider’s eye
To find out some appropriate pain —
Aye, though all passion’s in the glance —
For every nerve, and tests a lover
With cruelties of Choice and Chance;
And when at last that murder’s over
Maybe the bride-bed brings despair,
For each an imagined image brings
And finds a real image there;
Yet the world ends when these two things,
Though several, are a single light,
When oil and wick are burned in one;
Therefore a blessed moon last night
Gave Sheba to her Solomon.’
‘Yet the world stays.’
‘If that be so,
Your cockerel found us in the wrong
Although he thought it. worth a crow.
Maybe an image is too strong
Or maybe is not strong enough.’
‘The night has fallen; not a sound
In the forbidden sacred grove
Unless a petal hit th
e ground,
Nor any human sight within it
But the crushed grass where we have lain!
And the moon is wilder every minute.
O! Solomon! let us try again.’
AN IMAGE FROM A PAST LIFE
He. Never until this night have I been stirred.
The elaborate starlight throws a reflection
On the dark stream,
Till all the eddies gleam;
And thereupon there comes that scream
From terrified, invisible beast or bird:
Image of poignant recollection.
She. An image of my heart that is smitten through
Out of all likelihood, or reason,
And when at last,
Youth’s bitterness being past,
I had thought that all my days were cast
Amid most lovely places; smitten as though
It had not learned its lesson.
He. Why have you laid your hands upon my eyes?
What can have suddenly alarmed you
Whereon ‘twere best
My eyes should never rest?
What is there but the slowly fading west,
The river imaging the flashing skies,
All that to this moment charmed you?
She. A Sweetheart from another life floats there
As though she had been forced to linger
From vague distress
Or arrogant loveliness,
Merely to loosen out a tress
Among the starry eddies of her hair
Upon the paleness of a finger.
He. But why should you grow suddenly afraid
And start — I at your shoulder —
Imagining
That any night could bring
