by W. B. Yeats
‘When I was brought to bed,’
And all the while her needle pulled
The gold and silver thread.
She pulled the thread and bit the thread
And made a golden gown,
And wept because she had dreamt that I
Was born to wear a crown.
‘When she was got,’ my mother sang,
‘I heard a sea-mew cry,
And saw a flake of the yellow foam
That dropped upon my thigh.’
How therefore could she help but braid
The gold into my hair,
And dream that I should carry
The golden top of care?
THE REALISTS
Hope that you may understand!
What can books of men that wive
In a dragon-guarded land,
Paintings of the dolphin-drawn
Sea-nymphs in their pearly waggons
Do, but awake a hope to live
That had gone
With the dragons?
I
THE WITCH
Toil, and grow rich,
What’s that but to lie
With a foul witch
And after, drained dry,
To be brought
To the chamber where
Lies one long sought
With despair.
II
THE PEACOCK
What’s riches to him
That has made a great peacock
With the pride of his eye?
The wind-beaten, stone-grey,
And desolate Three-rock
Would nourish his whim.
Live he or die
Amid wet rocks and heather,
His ghost will be gay
Adding feather to feather
For the pride of his eye.
THE MOUNTAIN TOMB
Pour wine and dance if Manhood still have pride,
Bring roses if the rose be yet in bloom;
The cataract smokes upon the mountain side,
Our Father Rosicross is in his tomb.
Pull down the blinds, bring fiddle and clarionet
That there be no foot silent in the room
Nor mouth from kissing, nor from wine unwet;
Our Father Rosicross is in his tomb.
In vain, in vain; the cataract still cries
The everlasting taper lights the gloom;
All wisdom shut into his onyx eyes
Our Father Rosicross sleeps in his tomb.
TO A CHILD DANCING IN THE WIND
I
Dance there upon the shore;
What need have you to care
For wind or water’s roar?
And tumble out your hair
That the salt drops have wet;
Being young you have not known
The fool’s triumph, nor yet
Love lost as soon as won,
Nor the best labourer dead
And all the sheaves to bind.
What need have you to dread
The monstrous crying of wind?
II
Has no one said those daring
Kind eyes should be more learn’d?
Or warned you how despairing
The moths are when they are burned,
I could have warned you, but you are young,
So we speak a different tongue.
O you will take whatever’s offered
And dream that all the world’s a friend,
Suffer as your mother suffered,
Be as broken in the end.
But I am old and you are young,
And I speak a barbarous tongue.
A MEMORY OF YOUTH
The moments passed as at a play,
I had the wisdom love brings forth;
I had my share of mother wit
And yet for all that I could say,
And though I had her praise for it,
A cloud blown from the cut-throat north
Suddenly hid love’s moon away.
Believing every word I said
I praised her body and her mind
Till pride had made her eyes grow bright,
And pleasure made her cheeks grow red,
And vanity her footfall light,
Yet we, for all that praise, could find
Nothing but darkness overhead.
We sat as silent as a stone,
We knew, though she’d not said a word,
That even the best of love must die,
And had been savagely undone
Were it not that love upon the cry
Of a most ridiculous little bird
Tore from the clouds his marvellous moon.
FALLEN MAJESTY
Although crowds gathered once if she but showed her face,
And even old men’s eyes grew dim, this hand alone,
Like some last courtier at a gypsy camping place,
Babbling of fallen majesty, records what’s gone.
The lineaments, a heart that laughter has made sweet,
These, these remain, but I record what’s gone. A crowd
Will gather, and not know it walks the very street
Whereon a thing once walked that seemed a burning cloud.
FRIENDS
Now must I these three praise —
Three women that have wrought
What joy is in my days;
One that no passing thought,
Nor those unpassing cares,
No, not in these fifteen
Many times troubled years,
Could ever come between
Heart and delighted heart;
And one because her hand
Had strength that could unbind
What none can understand,
What none can have and thrive,
Youth’s dreamy load, till she
So changed me that I live
Labouring in ecstasy.
And what of her that took
All till my youth was gone
With scarce a pitying look?
How should I praise that one?
When day begins to break
I count my good and bad,
Being wakeful for her sake,
Remembering what she had,
What eagle look still shows,
While up from my heart’s root
So great a sweetness flows
I shake from head to foot.
THE COLD HEAVEN
Suddenly I saw the cold and rook-delighting Heaven
That seemed as though ice burned and was but the more ice,
And thereupon imagination and heart were driven
So wild that every casual thought of that and this
Vanished, and left but memories, that should be out of season
With the hot blood of youth, of love crossed long ago;
And I took all the blame out of all sense and reason,
Until I cried and trembled and rocked to and fro,
Riddled with light. Ah! when the ghost begins to quicken,
Confusion of the death-bed over, is it sent
Out naked on the roads, as the books say, and stricken
By the injustice of the skies for punishment?
THAT THE NIGHT COME
She lived in storm and strife,
Her soul had such desire
For what proud death may bring
That it could not endure
The common good of life,
But lived as ‘twere a king
That packed his marriage day
With banneret and pennon,
Trumpet and kettledrum,
And the outrageous cannon,
To bundle time away
That the night come.
AN APPOINTMENT
Being out of heart with government
I took a broken root to fling
Where the proud, wayward squirrel went,
Taking delight that he could spring;
And he, with that low w
hinnying sound
That is like laughter, sprang again
And so to the other tree at a bound.
Nor the tame will, nor timid brain,
Bred that fierce tooth and cleanly limb
And threw him up to laugh on the bough;
No government appointed him.
I
THE MAGI
Now as at all times I can see in the mind’s eye,
In their stiff, painted clothes, the pale unsatisfied ones
Appear and disappear in the blue depth of the sky
With all their ancient faces like rain-beaten stones,
And all their helms of silver hovering side by side,
And all their eyes still fixed, hoping to find once more,
Being by Calvary’s turbulence unsatisfied,
The uncontrollable mystery on the bestial floor.
II
THE DOLLS
A doll in the doll-maker’s house
Looks at the cradle and balls:
‘That is an insult to us.’
But the oldest of all the dolls
Who had seen, being kept for show,
Generations of his sort,
Out-screams the whole shelf: ‘Although
There’s not a man can report
Evil of this place,
The man and the woman bring
Hither to our disgrace,
A noisy and filthy thing.’
Hearing him groan and stretch
The doll-maker’s wife is aware
Her husband has heard the wretch,
And crouched by the arm of his chair,
She murmurs into his ear,
Head upon shoulder leant:
‘My dear, my dear, oh dear,
It was an accident.’
A COAT
I made my song a coat
Covered with embroideries
Out of old mythologies
From heel to throat;
But the fools caught it,
Wore it in the world’s eye
As though they’d wrought it.
Song, let them take it
For there’s more enterprise
In walking naked.
CLOSING RHYMES
While I, from that reed-throated whisperer
Who comes at need, although not now as once
A clear articulation in the air
But inwardly, surmise companions
Beyond the fling of the dull ass’s hoof,
— Ben Jonson’s phrase — and find when June is come
At Kyle-na-no under that ancient roof
A sterner conscience and a friendlier home,
I can forgive even that wrong of wrongs,
Those undreamt accidents that have made me
— Seeing that Fame has perished this long while
Being but a part of ancient ceremony —
Notorious, till all my priceless things
Are but a post the passing dogs defile.
THE WILD SWANS AT COOLE
First published in 1917, this collection of poems is considered to be part of Yeats’ ‘middle stage’, which is particularly concerned with Irish nationalism and the creation of an Irish aesthetic, as well as traditional love poems. The title poem The Wild Swans at Coole is one of Yeats’ most celebrated works. Written in a regular stanza form, with five six-line verses in iambic meter and ABCBDD rhyme scheme, the poem evokes a mournful impression. The Wild Swans at Coole is about Yeats’ melancholic thoughts, as he nears the ‘autumn’ of his life and he ponders whether the joys of love, as represented by the departing swans, may avoid him completely. The poem was written when Yeats was aged 52 and still unmarried, having struggled to maintain a long-lasting relationship due to his continual infatuation with Maud Gonne, the feminist revolutionary, who repeatedly rejected his proposals of marriage.
Yeats, close to the time of publication
Maud Gonne, Yeats’ life-long beloved
CONTENTS
THE WILD SWANS AT COOLE
IN MEMORY OF MAJOR ROBERT GREGORY
AN IRISH AIRMAN FORESEES HIS DEATH
MEN IMPROVE WITH THE YEARS
THE COLLAR-BONE OF A HARE
UNDER THE ROUND TOWER
SOLOMON TO SHEBA
THE LIVING BEAUTY
A SONG
TO A YOUNG BEAUTY
TO A YOUNG GIRL
THE SCHOLARS
TOM O’ROUGHLEY
THE SAD SHEPHERD
LINES WRITTEN IN DEJECTION
THE DAWN
ON WOMAN
THE FISHERMAN
THE HAWK
MEMORY
HER PRAISE
THE PEOPLE
HIS PHOENIX
A THOUGHT FROM PROPERTIUS
BROKEN DREAMS
A DEEP-SWORN VOW
PRESENCES
THE BALLOON OF THE MIND
TO A SQUIRREL AT KYLE-NA-GNO
ON BEING ASKED FOR A WAR POEM
IN MEMORY OF ALFRED POLLEXFEN
UPON A DYING LADY
HER COURTESY
CERTAIN ARTISTS BRING HER DOLLS AND DRAWINGS
SHE TURNS THE DOLLS’ FACES TO THE WALL
THE END OF DAY
HER RACE
HER COURAGE
HER FRIENDS BRING HER A CHRISTMAS TREE
EGO DOMINUS TUUS
A PRAYER ON GOING INTO MY HOUSE
THE PHASES OF THE MOON
THE CAT AND THE MOON
THE SAINT AND THE HUNCHBACK
TWO SONGS OF A FOOL
ANOTHER SONG OF A FOOL
THE DOUBLE VISION OF MICHAEL ROBARTES
The first edition
Sunset over Coole Lough, the setting of the title poem
PREFACE
This book is, in part, a reprint of The Wild Swans at Coole, printed a year ago on my sister’s hand-press at Dundrum, Co. Dublin. I have not, however, reprinted a play which may be a part of a book of new plays suggested by the dance plays of Japan, and I have added a number of new poems. Michael Robartes and John Aherne, whose names occur in one or other of these, are characters in some stories I wrote years ago, who have once again become a part of the phantasmagoria through which I can alone express my convictions about the world. I have the fancy that I read the name John Aherne among those of men prosecuted for making a disturbance at the first production of “The Play Boy,” which may account for his animosity to myself.
W. B. Y.
BALLYLEE, CO. GALWAY,
September 1918.
THE WILD SWANS AT COOLE
The trees are in their autumn beauty,
The woodland paths are dry,
Under the October twilight the water
Mirrors a still sky;
Upon the brimming water among the stones
Are nine and fifty swans.
The nineteenth Autumn has come upon me
Since I first made my count;
I saw, before I had well finished,
All suddenly mount
And scatter wheeling in great broken rings
Upon their clamorous wings.
I have looked upon those brilliant creatures,
And now my heart is sore.
All’s changed since I, hearing at twilight,
The first time on this shore,
The bell-beat of their wings above my head,
Trod with a lighter tread.
Unwearied still, lover by lover,
They paddle in the cold,
Companionable streams or climb the air;
Their hearts have not grown old;
Passion or conquest, wander where they will,
Attend upon them still.
But now they drift on the still water
Mysterious, beautiful;
Among what rushes will they build,
By what lake’s edge or pool
Delight men’s eyes, when I awake some day
To find they have flown away?
IN MEMORY OF MAJ
OR ROBERT GREGORY
1
Now that we’re almost settled in our house
I’ll name the friends that cannot sup with us
Beside a fire of turf in the ancient tower,
And having talked to some late hour
Climb up the narrow winding stair to bed:
Discoverers of forgotten truth
Or mere companions of my youth,
All, all are in my thoughts to-night, being dead.
2
Always we’d have the new friend meet the old,
And we are hurt if either friend seem cold,
And there is salt to lengthen out the smart
In the affections of our heart,
And quarrels are blown up upon that head;
But not a friend that I would bring
This night can set us quarrelling,
For all that come into my mind are dead.
3
Lionel Johnson comes the first to mind,
That loved his learning better than mankind,
Though courteous to the worst; much falling he
Brooded upon sanctity
Till all his Greek and Latin learning seemed
A long blast upon the horn that brought
A little nearer to his thought
A measureless consummation that he dreamed.
4
And that enquiring man John Synge comes next,
That dying chose the living world for text
And never could have rested in the tomb
But that, long travelling, he had come
Towards nightfall upon certain set apart
In a most desolate stony place,
Towards nightfall upon a race
Passionate and simple like his heart.
5
And then I think of old George Pollexfen,