ThAct: W.B. Yeats - Poems
" This blog is a task assigned by Dillip Barad Sir. "In this blog we will discuss two poems of w.b Yeats.
Thinking Activity: W.B. Yeats - Poems
William Butler Yeats (born June 13, 1865, Sandymount, Dublin, Ireland—died January 28, 1939, France) was an Irish poet, dramatist, and prose writer, one of the greatest English-language poets of the 20th century. He received the Nobel Prize for Literature in 1923.britannica
'On Being Asked for a War Poem'
think it better that in times like these
A poet's mouth be silent, for in truth
We have no gift to set a statesman right;
He has had enough of meddling who can please
A young girl in the indolence of her youth,
Or an old man upon a winter’s night.
poem Analysis:
W.B. Yeats's poem "On Being Asked for a War Poem" is a brief but profound response to the societal expectation that poets should engage directly with political and military events. Written during World War I, the poem captures Yeats’s reluctance to write about war, reflecting his belief that poetry’s purpose lies in exploring universal truths rather than participating in the political turmoil of the moment. Unlike many of his contemporaries, Yeats chose not to glorify or condemn war, instead emphasizing the limitations of poetry in addressing political crises.
The central theme of the poem is the role of the poet during times of conflict. Yeats suggests that poets should remain silent in such moments, as they lack the "gift to set a statesman right." He distances poetry from the sphere of politics, implying that it is neither a tool for guidance nor a means of resolving societal chaos. Instead, he positions poetry as a medium that brings solace and beauty, offering respite to individuals rather than engaging in the harsh realities of war. This idea is reinforced by the poet’s statement that pleasing "a young girl in the indolence of her youth" or "an old man upon a winter’s night" is a more appropriate purpose for poetry than meddling in political affairs.
The tone of the poem is reflective and resigned, conveying Yeats’s sense of futility in writing about war. Through simple yet evocative imagery, such as the young girl and the old man, he contrasts the warmth and intimacy of poetry with the cold brutality of conflict. These figures symbolize the personal and universal dimensions of art, which Yeats believed should remain untouched by the demands of politics. His refusal to conform to the expectations of wartime propaganda highlights his broader philosophical stance on the autonomy of art.
Structurally, the poem’s brevity and conversational style reflect Yeats’s intention to avoid elaboration on the subject of war. Its six lines, written in iambic pentameter, create a steady rhythm that mirrors the measured restraint of the poet’s response. The enjambment between lines adds a flowing, reflective quality, further emphasizing the contemplative tone of the poem.
In this work, Yeats underscores the limitations of poetry as a political tool and reaffirms its role as a source of comfort and beauty. His decision to abstain from writing about war serves as a quiet protest against the instrumentalization of art in times of conflict. Through "On Being Asked for a War Poem," Yeats asserts the value of silence and introspection, advocating for the preservation of poetry’s aesthetic and metaphysical dimensions amidst the chaos of war.
1. Compare the treatment of war in On Being Asked for a War Poem with other war poems by Wilfred Owen or Siegfried Sassoon.
The treatment of war in W.B. Yeats’s “On Being Asked for a War Poem” contrasts sharply with the approach taken by Wilfred Owen in his war poetry. While Yeats adopts a stance of detachment, choosing to refrain from addressing the horrors of war directly, Owen confronts the brutal realities of combat with vivid, graphic imagery. These differing treatments reflect their unique perspectives on the role of poetry and their personal experiences with war.
In “On Being Asked for a War Poem,” Yeats expresses his belief that poetry should remain separate from political and military concerns. He argues that poets lack the "gift to set a statesman right" and that their role lies in creating art that offers solace and beauty, not in engaging with the chaos of war. The poem is reflective and restrained, emphasizing the futility of addressing war through poetry. Yeats’s decision to remain silent about war underscores his philosophical stance that art should transcend current events and focus on universal, timeless themes.
In contrast, Wilfred Owen’s poetry, such as Dulce-et-decorum-est and “Anthem for Doomed Youth,” directly engages with the grim realities of World War I. Owen’s purpose is to dismantle the romanticized notions of war and expose its physical and emotional toll on soldiers. In “Dulce et Decorum Est,” Owen describes the harrowing experience of a gas attack, vividly portraying the suffering of a soldier who fails to don his mask in time. His use of graphic imagery—“the blood / Come gargling from the froth-corrupted lungs”—forces readers to confront the inhumanity of war. The poem ends with a bitter rejection of the patriotic ideal encapsulated in the phrase “Dulce et decorum est pro patria mori,” which he calls “The old Lie.”
Similarly, in “Anthem for Doomed Youth,” Owen critiques the lack of dignity in the deaths of soldiers. He compares their deaths to cattle being slaughtered, emphasizing the mechanical and impersonal nature of modern warfare. The poem laments the absence of proper mourning rituals, replacing traditional symbols of remembrance with grim realities, such as “the monstrous anger of the guns” and “the drawing-down of blinds.”
The key distinction between Yeats and Owen lies in their purpose and tone. Yeats avoids the subject of war altogether, maintaining a tone of quiet introspection and emphasizing the limitations of poetry in addressing political events. For him, the chaos of war is best met with silence, as he believes poetry cannot influence or alleviate the turmoil. In contrast, Owen’s poetry is an act of protest and revelation. His tone is often bitter, anguished, and deeply emotional, aiming to expose the truth about war and challenge the patriotic propaganda that glorifies it.
Yeats’s detachment from war is also rooted in his personal distance from the battlefield, as he was not directly involved in World War I. Owen, on the other hand, wrote from his firsthand experiences as a soldier, which lends his poetry an immediacy and authenticity that Yeats’s work lacks. While Yeats prioritizes the timeless and aesthetic qualities of poetry, Owen views it as a vehicle for truth-telling and social critique, deeply intertwined with the historical moment.
“On Being Asked for a War Poem” and Wilfred Owen’s war poetry represent contrasting responses to war. Yeats chooses silence and detachment, reflecting his belief in the autonomy of art, while Owen directly confronts the horrors of war, using poetry as a means to reveal its brutality and challenge societal attitudes. These differing approaches highlight the poets’ unique perspectives on the intersection of art, politics, and human suffering.
2. Write a modernist-inspired poem reflecting on a contemporary global crisis, drawing on Yeats’s themes and techniques.
Here's a modernist-inspired poem reflecting on the contemporary global crisis of climate change:
"The Gyre of Smoke"
The winds of progress howl, the earth's form
Fractures, cracks, and shatters, like a vase
Dropped by a careless hand, in a world of haste
The centre cannot hold; the ice caps melt
The seas rise, and the future's wealth
Is squandered on the altar of greed
As the earth's rhythms falter, and the seasons bleed
The ceremony of innocence is drowned
In the cacophony of consumption's sound
The best lack all conviction, while the worst
Are full of passionate intensity, and the earth is cursed
A shape with smoke-filled lungs and the head of a flame
A gaze blank and pitiless as the sun's burning claim
Is moving its slow thighs, while all about it
Reel shadows of the future, in a world without a doubt
The darkness drops again; but now we know
That twenty years of warnings were vexed to nightmare by a grow
A grow of indifference, of greed, of might
That has brought us to the brink of this desperate night
And what rough beast, its hour come round at last
Slouches towards extinction, to be born anew in the past?
Is it the ghost of progress, or the specter of our shame?
Or is it just the earth itself, risen up to reclaim its name?
This poem draws on Yeats's themes and techniques, including:
- The use of the gyre, a symbol of chaos and disorder
- The image of the centre not holding, reflecting the breakdown of social and environmental systems
- The contrast between the innocence of nature and the destructive power of human greed
- The use of imagery and symbolism to convey the urgency and complexity of the climate crisis
- The questioning of the future and the possibility of transformation and renewal.(Taken from Meta)
3. Do you agree with Yeats’s assertion in 'On Being Asked for a War Poem' that poetry should remain apolitical? Why or why not?
In my opinion Yeats’s assertion in “On Being Asked for a War Poem” that poetry should remain apolitical underscores his belief in art’s timeless and universal qualities. He valued poetry as a space for introspection and solace, separate from the transience and divisiveness of political conflicts. While this perspective highlights the enduring beauty of poetry, it neglects its power to engage with societal issues, inspire action, and challenge injustice.
Historically, poets like Wilfred Owen have shown how poetry can confront harsh realities, such as the brutality of war, while others, like Langston Hughes or Maya Angelou, have used it to amplify marginalized voices and resist oppression. Politically engaged poetry doesn’t diminish art’s aesthetic value but rather enriches it by connecting to real-world struggles and offering transformative insights.
While Yeats’s apolitical stance preserves the autonomy of art, it risks detaching poetry from lived realities. In contrast, politically engaged poetry bridges the timeless and the immediate, showing that art can simultaneously offer beauty and provoke meaningful change. Thus, poetry need not be confined to one role; it can balance universality with relevance, becoming both a refuge and a call to action.
'The Second Coming'
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
In the opening stanza of "The Second Coming" by W.B. Yeats, the poet presents a vivid image of chaos and disorder. The phrase "Turning and turning in the widening gyre" symbolizes a world that is spiraling out of control, where historical cycles seem to be expanding uncontrollably. The falcon, representing societal forces, can no longer hear the falconer, symbolizing the loss of control and communication between the forces that govern society and those who once guided them. "Things fall apart; the centre cannot hold" powerfully expresses the collapse of social, political, and moral order, signifying that the very foundation of civilization is disintegrating. With the phrase "Mere anarchy is loosed upon the world," Yeats conveys the sense that chaos is now free to reign. Through these lines, the poet captures a sense of impending disaster, reflecting the uncertainty and instability of the post-World War I era, where the traditional structures of society are crumbling, and an ominous future seems inevitable.
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
In this excerpt from "The Second Coming," W.B. Yeats presents a world plagued by moral and societal decay. The phrase "The blood-dimmed tide is loosed" evokes the image of widespread violence and chaos, as if the world is overwhelmed by a tide of bloodshed. The "ceremony of innocence" being "drowned" symbolizes the loss of purity, virtue, and moral integrity in a world now dominated by disorder. The lines "The best lack all conviction, while the worst are full of passionate intensity" further highlight the imbalance in society, where those who are virtuous ("the best") are paralyzed by doubt and inaction, while the corrupt and extreme ("the worst") are fervently driven by destructive ideologies. This contrast points to Yeats's belief that the forces of good are weak and indecisive, while the forces of evil or extremism grow stronger and more forceful, leading to a world where passion and intensity fuel destruction rather than progress. The tone of the passage is dark and critical, reflecting Yeats's disillusionment with the state of the world in the aftermath of war and upheaval.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
In this excerpt from "The Second Coming," W.B. Yeats envisions an impending, transformative event that he believes will mark the end of the current era. The repetition of "Surely" reflects his certainty that the "Second Coming" is near, but rather than a Christian rebirth of hope, Yeats anticipates a dark and unsettling change. The phrase "Spiritus Mundi" suggests that the vision he experiences is not merely personal but draws from a deeper, collective consciousness. This vision presents a "vast image" of a creature with the body of a lion and the head of a man, emerging from the sands of a desert—an image that symbolizes a powerful, dangerous force. The lion suggests strength and savagery, while the human head implies intelligence, signaling that this new force is both primal and calculating. The desert setting evokes barrenness and decay, emphasizing the desolation from which this creature rises. Through these disturbing images, Yeats foreshadows a new, possibly destructive force taking shape in the wake of societal collapse, signaling a world that is about to undergo a profound and ominous transformation.
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
In this excerpt from "The Second Coming," Yeats presents a haunting and powerful vision that reflects the destruction of the old world order and the rise of a new, terrifying force. The "gaze blank and pitiless as the sun" conveys the emotionless, indifferent nature of this new entity, which seems both all-seeing and unforgiving, like the sun's harsh, unrelenting gaze. The "slow thighs" and the "indignant desert birds" evoke a sense of deliberate, ominous motion as the creature moves, surrounded by the shadows of creatures driven by anger or distress in a desolate landscape. The "darkness drops again," suggesting the return of chaos or the onset of a new, darker era. Yeats then reflects on the past two thousand years ("twenty centuries of stony sleep"), a time of stagnation and inaction, which has been "vexed to nightmare" by a "rocking cradle." This image of the "rocking cradle" symbolizes the birth of something new—possibly a new force or destructive leader—that disturbs the long period of passive slumber and brings about a nightmare vision of the future. Yeats uses this imagery to suggest that humanity's past inertia has now awakened something monstrous, signifying the end of one age and the beginning of a terrifying new one.
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
In this final line of "The Second Coming," Yeats asks a chilling question about the arrival of a "rough beast," symbolizing a dark, destructive force that is set to replace the old world order. The beast's "slouching" movement suggests something ominous and unnatural, and its birth in Bethlehem—traditionally the birthplace of Christ—signifies a twisted inversion of the Christian ideals. Yeats portrays this new force as inevitable, marking the dawn of a terrifying new era.
4. How does Yeats use imagery to convey a sense of disintegration in 'The Second Coming'?
In "The Second Coming," W.B. Yeats uses vivid and unsettling imagery to convey a sense of disintegration, reflecting the chaos and collapse of the world order. The poem opens with the image of a "widening gyre," a spinning spiral that suggests the unraveling of society and the uncontrollable forces shaping the world. The falcon, unable to hear the falconer, symbolizes a loss of control, where the forces of civilization no longer respond to authority or guidance. Yeats further intensifies the sense of disintegration with the image of a "blood-dimmed tide," evoking violence and destruction that are sweeping over the world. The "ceremony of innocence" being "drowned" conveys the loss of purity and moral order, while the line "the centre cannot hold" reflects the breakdown of societal structure.
As the poem progresses, Yeats introduces the disturbing vision of a "rough beast" with a "lion body and the head of a man," emerging from the "indignant desert birds" in a barren landscape. This creature, moving in the desert, symbolizes the rise of a powerful, destructive force that replaces the old order, adding to the imagery of decay and desolation. Finally, the "twenty centuries of stony sleep" being "vexed to nightmare by a rocking cradle" suggests that a long period of stagnation has given way to a terrifying new force, marking a violent upheaval of the past. Through these images, Yeats creates a powerful sense of disintegration, where civilization, innocence, and moral certainty all crumble under the weight of chaos and the rise of a new, ominous power.
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