Irish Literature

UNIT 1—MODERN CLASSICS

W.B. Yeats
LITERARY ANALYSIS

In this document, you will find some poems by W. B. Yeats and some self-guided
activities. The goal is to approach and understand the texts using literary analysis. First,
read the poems carefully, looking up any words you might not understand. If the poem
is accompanied by a link to an audio, listen to those too. Try to understand the poems
in the context of what you have learnt so far in this Unit. Then, proceed to complete
the Self-Study questions. Remember you can always use the forums to ask questions if
you have them.

❖ EARLY POEMS: Late Romanticism (end of 19th C.)

The Stolen Child (1889)

Where dips the rocky highland

Of Sleuth Wood in the lake,
There lies a leafy island
Where flapping herons wake
The drowsy water rats;
There we’ve hid our faery vats,
Full of berrys
And of reddest stolen cherries.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

Where the wave of moonlight glosses

The dim gray sands with light,
Far off by furthest Rosses
We foot it all the night,
Weaving olden dances
Mingling hands and mingling glances
Till the moon has taken flight;
To and fro we leap

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And chase the frothy bubbles,

While the world is full of troubles
And anxious in its sleep.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

Where the wandering water gushes

From the hills above Glen-Car,
In pools among the rushes
That scarce could bathe a star,
We seek for slumbering trout
And whispering in their ears
Give them unquiet dreams;
Leaning softly out
From ferns that drop their tears
Over the young streams.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

Away with us he’s going,

The solemn-eyed:
He’ll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast,
Or see the brown mice bob
Round and round the oatmeal chest.
For he comes, the human child,
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than he can understand.

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The Lake Isle of Innisfree (1892)

I will arise and go now, and go to Innisfree,

And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honey-bee;
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping
slow,
Dropping from the veils of the morning to where the cricket
sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.

I will arise and go now, for always night and day

I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.

Here’s an audio version of the poem.

Who Goes with Fergus? (1893)

Who will go drive with Fergus now,

And pierce the deep wood’s woven shade,
And dance upon the level shore?
Young man, lift up your russet brow,
And lift your tender eyelids, maid,
And brood on hopes and fear no more.

And no more turn aside and brood

Upon love’s bitter mystery;
For Fergus rules the brazen cars,
And rules the shadows of the wood,
And the white breast of the dim sea
And all dishevelled wandering stars.

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Self-Study Questions for Analysis

➢ Search for “Fairy Changeling” in relation to Irish Folktales. How is Yeats

portraying this encounter between the real world and the fairy world in
“The Stolen Child”? What world has more weight in the poem, the visible
ordinary world or the hidden magical realm within nature? How does the
poet achieve this objective?

➢ What is the “we” referring to in the second stanza of “The Stolen Child”? /
Who is the poetic speaker and what is the function of the repetition of the
four lines in each stanza of the poem?

➢ Reflect on the strength and role of the poetic voice (first person pronoun)
in “The Lake Isle of Innisfree”. Connect it to the role of the Celtic wise man
and poet fili. Where does the poetic voice get his spiritual enlightenment
from? What place would he like to leave? What does he expect to find in
the Isle?

➢ “In a late version of this Irish heroic legend, Fergus, ‘king of the proud Red
Branch Kings’, gave up his throne voluntarily to King Conchubar of Ulster to
learn by dreaming and meditation the bitter wisdom of the poet and
philosopher” (notes on the poem “Who Goes with Fergus?” in Norton
2026). Fergus, sent by Conchobar to kill Deirdre and Naoise, after their
elopement (the story is part of the Ulster Cycle sagas and legends), refuses
to follow orders and kill the lovers, abandoning the mission. The poem
reflects the change from warrior/king to poet/philosopher, understanding
love, beauty and the power of nature. What social role in the ancient Celtic
civilization is Yeats encumbering with this poem in relation to masculinity
and wisdom?

➢ Who could you connect the “young man” and “maiden” in the first stanza
with, in legend and real life? (remember Maud Gonne).

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❖ MODERNIST PERIOD and POLITICAL POEMS (from Easter Rising to….)

No Second Troy (1910)

Why should I blame her that she filled my days

With misery, or that she would of late
Have taught to ignorant men most violent ways,
Or hurled the little streets upon the great,
Had they but courage equal to desire?
What could have made her peaceful with a mind
That nobleness made simple as a fire,
With beauty like a tightened bow, a kind
That is not natural in an age like this,
Being high and solitary and most stern?
Why, what could she have done, being what she is?
Was there another Troy for her to burn?

A Coat (1914)

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 eyes
As though they’d wrought it.
Song, let them take it
For there’s more enterprise
In walking naked.

September 1913 (1913)

What need you, being come to sense,

But fumble in a greasy till
And add the halfpence to the pence
And prayer to shivering prayer, until
You have dried the marrow from the bone;
For men were born to pray and save:
Romantic Ireland’s dead and gone,
It’s with O’Leary in the grave.

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Yet they were of a different kind,

The names that stilled your childish play,
They have gone about the world like wind,
But little time had they to pray
For whom the hangman’s rope was spun,
And what, God help us, could they save?
Romantic Ireland’s dead and gone,
It’s with O’Leary in the grave.

Was it for this the wild geese spread

The grey wing upon every tide;
For this that all that blood was shed,
For this Edward Fitzgerald died,
And Robert Emmet and Wolfe Tone,
All that delirium of the brave?
Romantic Ireland’s dead and gone,
It’s with O’Leary in the grave.

[…]

Easter, 1916 (1916)

I have met them at close of day

Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses.
[…]

That woman's days were spent

In ignorant good-will,
Her nights in argument
Until her voice grew shrill.
What voice more sweet than hers
When, young and beautiful,
She rode to harriers?
This man had kept a school
And rode our wingèd horse;
This other his helper and friend
Was coming into his force;
He might have won fame in the end,
So sensitive his nature seemed,
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So daring and sweet his thought.

This other man I had dreamed
A drunken, vainglorious lout.
He had done most bitter wrong
To some who are near my heart,
Yet I number him in the song;
He, too, has resigned his part
In the casual comedy;
He, too, has been changed in his turn,
Transformed utterly:
A terrible beauty is born.

[…]

Too long a sacrifice

Can make a stone of the heart.
O when may it suffice?
That is Heaven's part, our part
To murmur name upon name,
As a mother names her child
When sleep at last has come
On limbs that had run wild.
What is it but nightfall?
No, no, not night but death;
Was it needless death after all?
For England may keep faith
For all that is done and said.
We know their dream; enough
To know they dreamed and are dead;
And what if excess of love
Bewildered them till they died?
I write it out in a verse—
MacDonagh and MacBride
And Connolly and Pearse
Now and in time to be,
Wherever green is worn,
Are changed, changed utterly:
A terrible beauty is born.

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Self-Study Questions for Analysis

➢ Who is the poem “No Second Troy” referring to?

➢ Relate Helen of Troy, Deirdre and Maud Gonne. What do they have in
common? The three are involved with two men, due to their choices they
provoke wars and conflict—treachery, treason and betrayal are central in
the three real and mythological stories, and the honour of men and nations
hurt. Practicing a higher abstraction, how would you connect these stories
of lovers with Irish history and colonization? (Nation, Woman, Conquering,
Masculine pride). Does Yeats want to participate in the continuity of the
myth? How does he express his position?

➢ How is gender, masculinity and femininity, portrayed in the poem? In what

ways, if any, are gender stereotypes reversed or maintained? Pay attention
to the only poetic “I” present in the poem.

➢ What “fools” is Yeats referring to in “A Coat”? Reflect on the public and

private figure of the poet as represented in this poem. What is the poetic
voice’s position in relation to this issue?

➢ Written in Yeats’s period of support and admiration to the Irish nationalist

movement and its leaders, the poem “September 1913” eulogizes the
bravery and romantic idealism of nationalists such as John O’Leary. The
poetic voice’s deception lies in the critique of the pragmatism, capitalism
and narrow-mindedness of the new modern Catholic middle-class in
Ireland (they only “pray” and “save”). The “you” in the first line addresses
the “members of the new, largely Roman Catholic middle class” (Norton
2030). The poem was written following the events of the strong opposition
of the public opinion in Dublin at the time to accepting a French
impressionistic collection of painting offered by a famous art dealer.

➢ What does Yeats mean by the line “Yet they were of a different kind”? / Do
some research on the “wild geese” in Irish history and the names of
nationalist leaders he mentions. Why does the poetic voice think their exile
and fight for the nation was futile?

➢ In order to understand the poem “Easter, 1916” you should read the
consequences that led to the Easter Rising in Ireland and the impact it had
in Irish contemporary history.

➢ What is the effect achieved through the repetition of the last line in every
stanza? What meaning does it add to the poem? What is the poetic voice’s
opinion about their sacrifice for the nation as represented in the last
stanza?

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❖ LATE POETRY

Among School Children (1927)

I walk through the long schoolroom questioning;

A kind old nun in a white hood replies;
The children learn to cipher and to sing,
To study reading-books and history,
To cut and sew, be neat in everything
In the best modern way—the children's eyes
In momentary wonder stare upon
A sixty-year-old smiling public man.

II

I dream of a Ledaean body, bent

Above a sinking fire, a tale that she
Told of a harsh reproof, or trivial event
That changed some childish day to tragedy—
Told, and it seemed that our two natures blent
Into a sphere from youthful sympathy,
Or else, to alter Plato's parable,
Into the yolk and white of the one shell.

[…]

VII

Both nuns and mothers worship images,

But those the candles light are not as those
That animate a mother's reveries,
But keep a marble or a bronze repose.
And yet they too break hearts—O Presences
That passion, piety or affection knows,
And that all heavenly glory symbolise—
O self-born mockers of man's enterprise;

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VIII

Labour is blossoming or dancing where

The body is not bruised to pleasure soul,
Nor beauty born out of its own despair,
Nor blear-eyed wisdom out of midnight oil.
O chestnut tree, great rooted blossomer,
Are you the leaf, the blossom or the bole?
O body swayed to music, O brightening glance,
How can we know the dancer from the dance?

Under Ben Bulben (1938)

Swear by what the Sages spoke

Round the Mareotic Lake
That the Witch of Atlas knew,
Spoke and set the cocks a-crow.

Swear by those horsemen, by those women,

Complexion and form prove superhuman,
That pale, long visaged company
That airs an immortality
Completeness of their passions won;
Now they ride the wintry dawn
Where Ben Bulben sets the scene.

Here's the gist of what they mean.

II

Many times man lives and dies

Between his two eternities,
That of race and that of soul,
And ancient Ireland knew it all.
Whether man dies in his bed
Or the rifle knocks him dead,
A brief parting from those dear
Is the worst man has to fear.
Though grave-diggers' toil is long,
Sharp their spades, their muscle strong,
They but thrust their buried men
Back in the human mind again.
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[…]

Irish poets learn your trade

Sing whatever is well made,
Scorn the sort now growing up
All out of shape from toe to top,
Their unremembering hearts and heads
Base-born products of base beds.
Sing the peasantry, and then
Hard-riding country gentlemen,
The holiness of monks, and after
Porter-drinkers' randy laughter;
Sing the lords and ladies gay
That were beaten into the clay
Through seven heroic centuries;
Cast your mind on other days
That we in coming days may be
Still the indomitable Irishry.

VI

Under bare Ben Bulben's head

In Drumcliff churchyard Yeats is laid,
An ancestor was rector there
Long years ago; a church stands near,
By the road an ancient Cross.
No marble, no conventional phrase,
On limestone quarried near the spot
By his command these words are cut:

Cast a cold eye

On life, on death.
Horseman, pass by!

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Self-Study Questions for Analysis

➢ Search for images of the Ben Bulben Mountain in the West coast of
Ireland. How is this related to Yeats’s biography? Reflect on the circularity
of his life cycle, ending up in his origins and how it is portrayed in the
poem.

➢ Death, magic Irish folktales (superhuman creatures), the power of poetry

(the fili), the wisdom of ancient Ireland, the braveness of action and fight,
and the weight of the past and inheritance are all present in the poem.
Find allusions to these themes in the stanzas selected.

➢ The Yeats the poet is talking about in the last stanza is in fact Yeats’s great-
grandfather. However, how does the poet manage to reflect on the end of
life (his own life) in this poem? Pay attention to the title which includes the
symbols of underground, the power of nature and mountains, of death and
rebirth.

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