After Apple-Picking by Robert Frost

"After Apple-Picking" is a poem by American poet Robert Frost. It was published in

North of Boston, Frost's second poetry collection. The poem does not conform strictly to a
particular form, though it's loosely iambic pentameter. After Apple-Picking is Robert Frosts
one of the greatest lyrics. It blends the myth of the Fall with the inevitable and inescapable
consequences of modern science. The two-pointed ladder is a symbolic rise of man into
the world of science & technology eventually leading to a wasteland of emptiness,
uncertainty and endless struggle. The poem, in keeping with Frosts characteristic style,
effectively portrays a continuous clash between action and awareness inhibiting man from
arriving at any truly sustaining conclusion.
We must remember that Robert Frost is a landscape poet. His poetry is always
enriched with the depiction of agrarian and natural scenes. In "After Apple Picking", he
presents a simple theme that how peacefully an overtired villager is lulled to sleep by "the
essence of winter sleep", Nature. An apple picker has a plentiful crop. He is picking apples
while standing on a two pointed ladder. The winter evening falls soon. The apple picker is
fed up with apple picking now. The cold winter breeze is filled with the scent of apples. It is a
perfect setting to induce sleep and he is "drowsing off" under the powerful effect of Nature.
He wants to pick apples and tries to "rub the strangeness away". Soon, he is on his way to
sleep. In this process "magnified apples appear and disappear". The poet leaves the end of
the poem open. He does not confirm of whether it would be human sleep or like woodchuck
a long sleep. Though Robert Frost insists that the poem is written purely in context of a rural
aspect and it shows nothing more than the beauty of nature prevailing upon human mind,
intellect and will, yet the poem does allude to certain extended meanings. Since the poet has
left the ending of the poem open; therefore, the sleep of the peasant could either be related
to death or to intoxication since the apple picker is "drowsing" under appeasing influence of
mighty nature. The "magnified apples" may also be referred to as human desires which may
never be satiated to their fill. Sometimes, one may even have achieved lifelong goals and
targets have been met but life does not stay longer to support one to relish the fruits of one's

labours. Hence, the magnified apples may refer to unfulfilled desires. However, if we wish to
move a step further, it could also imply the lust of man which can never be satisfied.
Critics have identified several symbols like "magnified apples" and "sleep" that do
reflect the inner condition of the apple picker. Here "magnified apples" are resembled to
dreams of an ordinary person moving towards sleep after the day's tiredness and fatigue of
apple picking. The "two pointed ladder" is also considered as life and human career which is
similarly difficult to balance. It shows life is uncertain. Life is rather too short because even
before we have picked the fruits of our labour, the darkness of death overshadows human
life. The yearnings of man remain unfulfilled. It is also hinted at how difficult it is to maintain
human life.
In this poem Frost hovers between the daylight world of common sense reality and
the dream world of possibility, the voices of sense and of song, the visions of the pragmatist
and the prophet, the compulsions of the road and the seductions of the woods. This time,
however, he appears to belong to both realms, rather than hold back from a full commitment
to either. Dualism is replaced by an almost religious sense of unity here; and the tone of
irony, quizzical reserve, completely disappears in favour of wonder and incantation.
In terms of form, this poem is bizarre because it weaves in and out of traditional
structure. Approximately twenty-five of the forty-two lines are written in standard iambic
pentameter, and there are twenty end-rhymes throughout the poem. This wandering
structure allows Frost to emphasize the sense of moving between a waking and dream-like
state, just as the narrator does. The repetition of the term sleep, even after its paired rhyme
(heap) has long been forgotten, also highlights the narrators gradual descent into
dreaming.
In some respects, this poem is simply about apple picking. After a hard day of work,
the apple farmer completely fatigued but is still unable to escape the mental act of picking
apples: he still sees the apples in front of him, still feels the ache in his foot as if he is
standing on a ladder, still bemoans the fate of the flawless apples that fall to the ground and
must be consigned to the cider press.

Yet, as in all of Frosts poems, the narrators everyday act of picking apples also
speaks to a more metaphorical discussion of seasonal changes and death. Although the
narrator does not say when the poem takes place, it is clear that winter is nearly upon him:
the grass is hoary, the surface of the water in the trough is frozen enough to be used as a
pane of glass, and there is an overall sense of the essence of winter. Death is coming, but
the narrator does not know if the death will be renewed by spring in a few months or if
everything will stay buried under mindless snow for all eternity.
Because of the varying rhymes and tenses of the poem, it is not clear when the
narrator is dreaming or awake. One possibility is that the entirety of the poem takes place
within a dream. The narrator is already asleep and is automatically reliving the days harvest
as he dreams. This explanation clarifies the disjointed narrative shifting from topic to topic
as the narrator dreams as well as the narrators assertion that he was well upon my way
to sleep before the sheet of ice fell from his hands.
Another explanation is that the narrator is dying, and his rambling musings on apple
picking are the fevered hallucinations of a man about to leave the world of the living. With
that in mind, the narrators declaration that he is done with apple-picking now has more
finality, almost as if his vision of the apple harvest is a farewell. Even so, he can be satisfied
in his work because, with the exception of a few apples on the tree, he fulfilled all of his
obligations to the season and to himself. Significantly, even as he falls into a complete sleep,
the narrator is unable to discern if he is dying or merely sleeping; the two are merged
completely in the essence of the oncoming winter, and Frost refuses to tell the reader what
actually happens.

The Tyger by William Blake

"The Tyger" is a poem by the English poet William Blake published in 1794 as part of
the Songs of Experience collection. Literary critic Alfred Kazin calls it "the most famous of his
poems," and The Cambridge Companion to William Blake says it is "the most anthologized
poem in English. It is one of Blake's most reinterpreted and arranged works. The Tyger by

William Blake is taken from The Songs of Experience. The tiger itself is a symbol for the
fierce forces in the soul that are necessary to break the bonds of experience. The tiger also
stands for a divine spirit that will not be subdued by restrictions, but will arise against
established rules and conventions. It is also a romantic poem to some extent written by the
pre-romantic William Blake.
The Tyger is a highly symbolic poem based on Blakes personal philosophy of
spiritual and intellectual revolution by individuals. The speaker in the poem is puzzled at the
sight of a tiger in the night, and he asks it a series of questions about its fierce appearance
and about the creator who made it. But the context and everything in it must be interpreted
according to Blakes philosophy of symbolic myths about human life, society and spiritual
revolution.
So, the god creating the tiger can be interpreted as any of these creative agents
which inspire common men to free their minds, hearts and souls from the chains of social
falsities- the king, the priest, the landlord and their systems that eat up the individuals
potentials. The creator has strong shoulders (energy) as well as art (skills) and dread feet
and hand. His courage is supreme, too. His creation is fierce, almost daunting himself. So
must be mans spirit and imagination, or the poets. The forest is the symbol of corrupted
social conventions and that tries to suppress the good human potentials. In the poem night
stands for ignorance, out of which the forest of false social institutions is made.
Similarly, the context of a person asking questions and getting puzzles at the tiger
symbolically represents the final beginning of the realization and appreciation of the forces of
his own soul. This individual will then begin his personal spiritual revolution. The poem is
taken from the Songs of Experience which means the adult world of corruption, immorality
and suffering. Passing through the first phase of Innocence or the pure childs-like world or
mentality in Songs of Innocence, and then having experienced the opposite world of
experience, the speaker in this poem has begun to recognize the suppressed power of his
soul and realize its necessity. He is himself puzzled at its fearful faces, and begins to realize
that he had gotten, not only the lamb-like humility, but also the tiger-like energy for fighting

back against the domination of the evil society. The qualities of the original and pure man
must be freed by using this tiger- like force of the soul. Blakes imaginative man or creative
artist is a rebellious being. It also represents the double potentials in any human being.
Thematically, the poem is intended to make us to witness the persona realizing the
potentials of his soul and to realize it ourselves. We have not only the lamb (Christ) like
humility but also the tiger like quality for spiritual revolution and freedom from falsities. The
unusual spelling in Tyger is also a hint of the special meaning and emphasis as the
unusual stresses. The use of the first stanza as a refrain repeating it with the difference of
one word (dare) at the end is also for special emphasis on its symbolism. Readers who have
learnt some of the private symbols of Blake can only understand this poem. But it is not too
difficult after we get at the basic symbols.
The use of smithing imagery for the creation of the tiger hearkens to Blakes own oftwritten contrast between the natural world and the industrialism of the London of his day.
While the creator is still God, the means of creation for so dangerous a creature is
mechanical rather than natural. Technology may be a benefit to mankind in many ways, but
within it still holds deadly potential.
In form and content, "The Tyger" also parallels the Biblical book of Job. Job, too, was
confronted by the sheer awe and power of God, who asks the suffering man a similar series
of rhetorical questions designed to lead Job not to an answer, but to an understanding of the
limitations inherent in human wisdom. This limitation is forced into view by the final paradox
"Did he who made the Lamb make thee?" Can the God of Innocence also be the God of
Experience? If so, how can mere mortals, trapped in one state or the other, ever hope to
understand this God?
William Blake never answers his question about the unknown nature of god. He
leaves it up to the reader to decide. By beginning and ending his poem with the same
quatrain he asks the question about god creating evil as well as good, again. In conclusion,
a reading of "The Tyger" offers different thematic possibilities. The poem seems to change
as the reader changes, but the beauty of the words and meter make this poem an

astonishing, enjoyable excursion into the humanity of theology. Moreover, the poem is
quotable in various situations, and it leaves a permanent impression on the reader.
Therefore, "The Tyger" by William Blake emerges from creation's cold, clear stream as a
perpetual inspiration - a classic. In my opinion, William Blake wrote the poem with a simple
structure and a perfect rhyme to help the reader see the images he wanted to transmit.
Above all, the description of the tiger is glaringly graphic due to essentially the contrast
between fire and night.

Ode on a Grecian Urn by John Keats

"Ode on a Grecian Urn" is a poem written by the English Romantic poet John Keats
in May 1819 and published anonymously in the January 1820, Number 15 issue of the
magazine Annals of the Fine Arts. The poem is one of several "Great Odes of 1819", which
include "Ode on Indolence", "Ode on Melancholy", "Ode to a Nightingale", and "Ode to
Psyche". Ode on a Grecian Urn is an ode in which the speaker addresses to an engraved
urn and expresses his feelings and ideas about the experience of an imagined world of art,
in contrast to the reality of life, change and suffering. As an ode, it also has the unique
features that Keats himself established in his great odes.
The features of Keatsian Romanticism and Keats philosophy of art, beauty and truth
are also important in this poem. Though it is a romantic poem, we find the unusual classical
interests of Keats in the style and form of this poem. This is a romantic poem mainly
because of its dominant imaginative quality.
Like Wordsworths nature, Keats' imagination is a means to understand life, a means
of the quest for truth and beauty, and the most reliable mode of experience and insight. The
speaker in the poem begins with reality- an ancient marble urn with engravings around it. He
addresses to the urn as a virgin bride of quietness. Time is slow for it. It is unchanging,
perfect and silent. The carving around the urn is expressing the story of the pilgrims, lovers
and other mysterious people recorded in times of gods and men on its outside. In the poet's
imagination, this world and people made immortal by art are real as well as beautiful.

The Ode on a Grecian Urn expresses Keats's desire to belong to the realm of the
eternal, the permanent, perfect and the pleasurable, by establishing the means to approach
that world of his wish with the help of imagination. This ode is based on the tension between
the 'ideal' and the 'real'. Keats here idealizes a work of art as symbolizing the world of art
which represents the ideal world of his wish at an even deeper level. Then he experiences
that world thus created through imagination. In this poem, the two domains of the transient
real and the permanent ideal are the two facets of a deeper reality, the reality of imaginative
experience. The perfect, permanent and pleasurable world of the Urn, or that of the ideal,
stands against the destructive corrupting and painful effects of time. Keats fascination with
the immortality of art is duly counterbalanced with his awareness that it is lifeless. He neither
supports gross realism against truly imaginative art, nor does he wander in imagination
alone. Life compensates for the incompleteness of art and art compensates for the
transience of life.
This ode which represents Keats mature vision consists of one of his central
philosophical doctrines of art itself: "Truth is Beauty and beauty truth". This famous maxim of
Keats has an intellectual basis of truth and also an emotional basis in beauty. Art may appeal
to the sensuousness or just the emotion of common people, but Keats' response extends
from the sensuous to the spiritual and from the passionate to the intellectual. Keats
establishes a balance between the real and the ideal, and art and life, and he finds the
deepest of reality in its balance. This ode gives a much importance to passion as to the idea
of permanence. It is not a lyric of the escape of a dying young man, unwilling to face bitter
life into the realm of everlasting happiness, but is a poem that embodies his mature
understanding.
Keats indicates a contrast between the unchanging 'Urn' and temporal life in the very
beginning of the poem, but shifting to the other side from where he seems to prefer warm life
against the 'Cold Pastoral' where he finally resolves the duality in his doctrine of beauty and
truth. Keats addresses the urn as a bride of quietness that is still unravished by time. That
reminds us of life that is ever ravished by time. The urn narrates its history in a silent but

musical form. The silent music which Keats, the addressee, feels he can hear is sweeter
than the music of the human voice for it is permanent. Unlike the temporal presentation of
poetry which is prone to narrate the histories of human being, the urn narrates a 'leaf-fringed
legend' as if it were in space rather than in time. The narration of the urn is itself liberated
from time.
In short, the permanently ideal world of the urn is presented in the urn that is lifeless
thing when seen from the viewpoint of real life. But the idea that comes under the domain of
imaginative reality is reconciled in the act of imaginative creation of the urns legend.
Therefore, the real life is complemented and enriched by this ideal. Thus, the two domains of
the real and the ideal coming into conflict as usual, ultimately reconcile to make a more
permanent truth as asserted in the 'truth and beauty' maxim. To sum up, in this ode, Keats
begins by idealizing, personifying, and immortalizing a real object. This ideal at first clashes
with the real but is reconciled by imagination and insight at the end. The poem begins with
an address to the Grecian urn and with almost envious amazement, but it ends with the
realization that beauty or ideal is also a dimension of the truth of the real; the beauty of
imaginative experience is a part of reality or truth and the knowledge of all truth is beautiful.
Such an argument may raise a number of provocative and uncomfortable questions.
The reader may ask, what is the reason for living, then? Why continue to pursue and attempt
to create and define beauty? One may even ask, why go on living? Beauty is so central to
humans most cherished beliefs and pursuits that Keatss forceful lines seem to challenge
important aspects of our very selves. Once the reader moves beyond this reaction, though, it
becomes possible to see that Keatss truth is liberating. If humans no longer need to strive to
create the perfect beautiful form in whatever medium, then it frees them to be imperfect.
Imperfection, in turn, liberates humans to make and remake art, and to recognize that one
form dies with each individual death, and is then born again with each new birth a common
theme in poetry from the Romantic period. Bloom and Trilling refer to this realization as
Keatss gift of tragic acceptance, which the poet hands to the reader and urges him or her
to accept and then contemplate.

Ode on a Grecian Urn, then, is a journey into the interior of Keatss mind and the
soul, as well as a disclosure of his most closely held beliefs. The poet uses an external
object, a Grecian urn, to provoke the reader to contemplate the same aesthetic conflict
which has preoccupied him and his fellow Romantic poets so deeply. This particular ode,
among all of his oeuvre, shows Keats in a particularly contemplative state. His observations
of the urn have provoked considerations about the nature of truth, beauty, and the function of
art, all of which were the primary concerns of the Romantic poets. While the urn keeps the
reader grounded in the realities of the outside world, the reader is a companion to the poet,
who manipulates extreme emotions and ultimately concludes that life can only be captured
by living it experientially, not trying to replicate it in art forms. The ultimate irony, of course, is
that Keats uses one art form, the poem, and specifically, the ode, to achieve the
transmission of this artistic philosophy.

My Mistress' Eyes by William Shakespeare

Shakespeare's Sonnets is the title of a collection of 154 sonnets accredited to
William Shakespeare which cover themes such as the passage of time, love, beauty and
mortality. It was first published in a 1609 quarto with the full stylised title SHAKE-SPEARES
SONNETS. Never before imprinted. Although sonnets 138 and 144 had previously been
published in the 1599 miscellany The Passionate Pilgrim. The quarto ends with "A Lover's
Complaint", a narrative poem of 47 seven-line stanzas written in rhyme royal. Sonnet 130 is
one of Shakespeare's well-known sonnets also called My Mistress' Eyes. He popularized the
Elizabethan sonnet which has a different emphasis from the original sonnet form which
Petrarch favoured. Instead of the Petrarchan or Italian sonnet, the Elizabethan or
Shakespearean sonnet has three quatrains (four lines each) followed by a concluding
rhyming couplet.
In My Mistress' Eyes, Shakespeare deliberately mocks the traditional love poem
although he uses exaggeration in equal measure whilst trying to give an objective account.
However, he seems to exaggerate his lover's faults not her qualities. The eyes have long

been written about but Shakespeare begins his sonnet saying that her "eyes are nothing like
the sun" setting the reader up for this seemingly cruel and unflattering description. All the
stereotypical female attributes such as the lips, the cheeks, the hair and the breasts have
attention drawn to them but they leave the reader with a visual image of an ungainly woman
with very little to admire. Even her breath "reeks," although this can be modified by the
reference to perfume suggesting that it is not necessarily that her breath smells unpleasant
but it certainly doesn't smell sweet whereas presumably in any other situation, the woman's
breath would gratify the senses. Certainly, in poetry, the poet is unlikely to draw attention to
her shortcomings.
If you compare the stanzas of Astrophel and Stella to In My Mistress' Eyes, you will
see exactly what elements of the conventional love sonnet Shakespeare is light-heartedly
mocking. In My Mistress' Eyes, there is no use of grandiose metaphor or allusion; he does
not compare his love to Venus, there is no evocation to Morpheus, etc. The ordinary beauty
and humanity of his lover are important to Shakespeare in this sonnet, and he deliberately
uses typical love poetry metaphors against themselves.
It seems that Shakespeare uses this sarcastic tone to ridicule the insincerity of more
traditional sonnets which have ridiculous notions about a woman's virtue. He parodies the
style of commenting on his lover's features but surprises the reader with his rude and unkind
comparisons. She cannot sing and is certainly not dainty and light of foot. However, he does
redeem himself when in the couplet he admits that she is "rare" and it would be
unreasonable to compare her to anyone because her beauty is immeasurable and any
comparison misleading or "false." In discussing the theme of love then it is apparent that
Shakespeare intends for the reader to grasp an understanding of beauty and love as far
more than physical appearance.
Shakespeare uses metaphor all throughout his sonnet. It is an odd use of metaphor,
though. Instead of comparing his love to something, he is comparing his love to something
she is not. His love is not like the sun; her lips are not even as red as coral. Her cheeks are
not like a rose. Shakespeare also makes use of hyperbole - he exaggerates to make a point.

At the end of the poem, we realize that the speaker's love is not really unattractive. She is
simply not the perfect, unattainable image we see in other conventional sonnets.
Shakespeare also utilizes a new structure, through which the straightforward theme of his
lovers simplicity can be developed in the three quatrains and neatly concluded in the final
couplet.
My Mistress' Eyes, one of Shakespeares most famous, plays an elaborate joke on
the conventions of love poetry common to Shakespeares day, and it is so well-conceived
that the joke remains funny even today. It is a pleasure to read for its simplicity and
frankness of expression. It is also one of the few of Shakespeare's sonnets with a distinctly
humorous tone. The sonnet is especially remarkable for its unconventional use of metaphors
and hyperboles; and it is unique in its use of rhetorical structure.
Thus, Shakespeare is using all the techniques available, including the sonnet
structure itself, to enhance his parody of the traditional Petrarchan sonnet typified by
Sidneys work. But Shakespeare ends the sonnet by proclaiming his love for his mistress
despite her lack of adornment, so he does finally embrace the fundamental theme in
Petrarch's sonnets: total and consuming love. But the ordinary beauty and humanity of his
lover are important to Shakespeare in this sonnet, and he deliberately uses typical love
poetry metaphors against themselves.

The Second Coming by W. B. Yeats

The Second Coming is a poem composed by Irish poet W. B. Yeats in 1919, first
printed in The Dial in November 1920, and afterwards included in his 1921 collection of
verses Michael Robartes and the Dancer. The poem uses Christian imagery regarding the
Apocalypse and second coming allegorically to describe the atmosphere of post-war Europe.
The poem is considered a major work of Modernist poetry and has been reprinted in several
collections, including The Norton Anthology of Modern Poetry.
Yeats is considered one of the finest poets in the English language. He was devoted
to the cause of Irish nationalism and played a significant part in the Celtic Revival

Movement, promoting the literary heritage of Ireland through his use of material from ancient
Irish sagas. Magic and occult theory are also important elements in Yeats's work, as many of
the images found in his poetry are derived from his occult researches. Such is the case in
regard to Yeats's lyric poem, "The Second Coming." The work is generally viewed as a
symbolic revelation of the end of the Christian era, and is one of Yeats's most widely
commented-on works. Thought to exemplify Yeats's cyclical interpretation of history, "The
Second Coming" is regarded as a masterpiece of Modernist poetry and is variously
interpreted by scholars, whose principal concern has been to unravel its complex symbolism.
"The Second Coming" is viewed as a prophetic poem that envisions the close of the
Christian epoch and the violent birth of a new age. The poem's title makes reference to the
Biblical reappearance of Christ, prophesied in Matthew 24 and the Revelations of St. John,
which according to Christianity, will accompany the Apocalypse and divine Last Judgment.
Other symbols in the poem are drawn from mythology, the occult, and Yeats's view of history
as defined in his cryptic prose volume A Vision. The principal figure of the work is a sphinxlike creature with a lion's body and man's head, a "rough beast" awakened in the desert that
makes its way to Christ's birthplace, Bethlehem.
While critics acknowledge the work's internal symbolic power, most have studied its
themes in relation to Yeats's A Vision. According to the cosmological scheme of A Vision, the
sweep of history can be represented by two intersecting cones, or gyres, each of which
possesses one of two opposing "tinctures," primary and antithetical, that define the dominant
modes of civilization. Yeats associated the primary or solar tincture with democracy, truth,
abstraction, goodness, egalitarianism, scientific rationalism, and peace. The contrasting
antithetical or lunar tincture he related to aristocracy, hierarchy, art, fiction, evil, particularity,
and war.
According to Yeats's view, as one gyre widens over a period of two thousand years
the other narrows, producing a gradual change in the age. The process then reverses after
another twenty centuries have passed, and so on, producing a cyclic pattern throughout
time. In the early twentieth-century Yeats envisioned the primary gyre, the age of Christianity,

to be at its fullest expansion and approaching a turning point when the primary would begin
to contract and the antithetical enlarge. In "The Second Coming" scholars view the
uncontrolled flight of the falcon as representative of this primary expansion at its chaotic
peak, while the coming of an antithetical disposition is symbolized in the appearance of the
"rough beast" in the desert, a harbinger of the new epoch.
In The Second Coming poets mind was filled with gloom in consequence of the sidespread murder and bloodshed in Ireland in the course of the Easter rebellion of 1916. The
Irish civil war that followed the great war of 1914-1919 and various other events in Europe
added to that gloom.
The poem is the outcome of a state of mind troubled with ominous forebodings. The
title of the poem suggests a new manifestation of God to man. The Christian era draws to its
close; now that its great year of two thousand years is ending. We do not know what the
new shape of things will bed but it must be terror-filled for us by virtue of the simple fact that
it will entitle so revolutionary a change.
The Second Coming here is not really a second coming of Christ himself, but of a
new figure-in this case cruel, bestial, pitiless-who will represent the new era as Christ
symbolized the old. Yeats was sure that the twentieth century, of which he had seen the
calamitous beginning-World War on the continent and at home the troubles-would make the
end of the primary, objective Christian civilization, and the beginning of a new antithetical,
subjective civilization. Thus a new, rough beast is going to take Christs place in the cradle at
Bethlehem, where it will vex mans old sleep to a new nightmare.
The poem is one of those few compositions which can be understood if we have
some knowledge of Yeats philosophy of history. Yeats believed that history runs in cycle. He
equates it with the motion of swiftly rotating gyres or cones. The gyres rotate rapidly round a
fixed centre. Their circumference widens as they rotate and at last disintegration sets in. The
disintegration starts at the circumference and gradually involves the centre as well.
Is there any part of the poem that contrast with the vision of Yeats as the author? If
yes why he wrote this poem before and what is the purpose if something that he wrote

against his vision? Yes it has and if we want to know what part, we must look about the
historical background of Yeats itself. Back to his early life, young Yeats enthusiastic in
something about occult & Irish legend, he was joined in paranormal research organization
called as the ghost club in 1911. He also stated that mysticism played an important part as
his career as writer and author.
There is war and there is a darkness and blood spilled. Those things cannot be
separated because all are linked and act as cause effect. If there is no darkness in the
human heart, war will not occurred, misery will not be caused. Everyone must control their
behaviour first before control other people as falconer control his/her falcon. Yeats shares his
mind to show us that conflict is always useless in every era and place. The second coming
or judgment day as a jargon to bring the peace for a nation cannot be exist if we are not
begins and aware to stop war and conflict by ourselves as soon as possible without waiting
for the help of others.
Eventually, The Second Coming is based upon the cyclic philosophy of gyres and
reincarnation but, allowance being made for this parable convention, can be taken as a
direct prophecy of imminent disaster.