Poetry

By W. B. Yeats.

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Song of the Faeries

A man has a hope for heaven,
But soulless a faery dies,
As a leaf that is old, and withered and cold
When the wint’ry vapours rise.

Soon shall our wings be stilled,
And our laughter over and done,
So let us dance where the yellow lance
Of the barley shoots in the sun.

So let us dance on the fringed waves,
And shout at the wisest owls
In their downy caps, and startle the naps
Of the dreaming water-fowls.

And fight for the black sloe-berries,
For soulless a faery dies,
As a leaf that is old, and withered and cold
When the wintry vapours rise.

Love and Death

Behold the flashing waters,
A cloven, dancing jet,
That from the milk-white marble
For ever foam and fret;
Far off in drowsy valleys
Where the meadow-saffrons blow,
The feet of summer dabble
In their coiling calm and slow.
The banks are worn for ever
By a people sadly gay:
A Titan, with loud laughter,
Made them of fire and clay.
Go ask the springing flowers,
And the flowing air above,
What are the twin-born waters,
And they’ll answer Death and Love.

With wreaths of withered flowers
Two lonely spirits wait,
With wreaths of withered flowers,
’Fore paradise’s gate.
They may not pass the portal,
Poor earth-enkindled pair,
Though sad is many a spirit
Το pass and leave them there
Still staring at their flowers,
That dull and faded are.
If one should rise beside thee,
The other is not far.
Go ask the youngest angel,
She will say with bated breath,
By the door of Mary’s garden
Are the spirits Love and Death.

The Seeker

A Dramatic Poem in Two Scenes

Scene I

A woodland valley at evening. Around a wood-fire sit three shepherds; without a curve rises the smoke.

First Shepherd	Heavy with wool the sheep are gathered in, And through the mansion of the spirit rove My dreams o’er thoughts of plenty as the red- Eyed panthers in their desert caverns rove And rove unceasing round their dreadful brood.
Second Shepherd	O brother, lay thy flute upon thy lips, It is the voice of all our hearts that laugh.
	The first Shepherd* puts the flute to his lips; there comes from it a piercing cry. He drops it.*
First Shepherd	It is possessed.
Third Shepherd	Nay, give it me, and I will sound a measure; And unto it we’ll dance upon the sward.
	Puts it to his lips. A voice out of the flute still more mournful.
First Shepherd	An omen!
Second Shepherd	An omen!
Third Shepherd	A creeping horror is all over me.
	Enter an Old Knight. They cast themselves down before him.
Knight	Are all things well with you and with your sheep?
Second Shepherd	Yes, all is very well.
First Shepherd	Whence comest thou?
Knight	Shepherds, I came this morning to your land From threescore years of dream-led wandering Where spice isles nestle on the star-trod seas, And where the polar winds and waters wrestle In endless dark, and by the weedy marge Of India’s rivers, rolling on in light. But soon my wandering shall be done I know. A voice has told me how within this land There lies the long-lost forest of the sprite, The sullen wood. But many woods I see Where to themselves innumerable birds Make moan and cry.
First Shepherd	Within yon sunless valley Between the horned hills⁠—
Knight	Shepherds, farewell! And peace be with you, peace and wealth of days.
Second Shepherd	Seek not that wood, for there the goblin snakes Go up and down, and raise their heads and sing With little voices songs of fearful things.
Third Shepherd	No shepherd foot has ever dared its depths.
First Shepherd	The very squirrel dies that enters it.
Knight	Shepherds, farewell!
	Goes.
Second Shepherd	He soon will be
First Shepherd	Ashes Before the wind.
Third Shepherd	Saw you his eyes a-glitter, His body shake?
Second Shepherd	Aye, quivering as yon smoke That from the fire is ever pouring up, Within the woodways, blue as the halcyon’s wing, Star-envious.
Third Shepherd	He was a spirit, brother.
Second Shepherd	The blessed God was good to send us such, To make us glad with wonder as we sat Weary of watching round the fire at night.

Scene II

A ruined palace in the forest. Away in the depth of the shadow of the pillars a motionless Figure.

	Enter the Old Knight.
Knight	Behold I bend before thee to the ground Until my beard is in the twisted leaves That with their fiery ruin fill the hall, As words of thine through fourscore years have filled My echoing heart. Now raise thy voice and speak! Even from boyhood, in my father’s house, That was beside the waterfall, thy words Abode as banded adders in my breast. Thou knowest this, and how from mid the dance Thou called’st me forth, And how thou madest me A coward in the field; and all men cried: Behold the Knight of the Waterfall, whose heart The spirits stole, and gave him in its stead A peering hare’s; and yet I murmured not, Knowing that thou hadst singled me with word Of love from out a dreamless race for strife, Through miseries unhuman ever on To joys unhuman, and to thee⁠—Speak! Speak
	He draws nearer to the Figure. A pause.
	Behold I bend before thee to the ground; Thou wilt not speak, and I with age am near To Death. His lips are glued, with quivering touch, To mine, and he is slowly sucking forth My soul. His darkness and his chill I feel. Were all my wandering days of no avail Untouched of human joy or human love? Then let me see thy face before I die. Behold I bow before thee to the ground! Behold I bow! Around my beard in drifts Lie strewn the clotted leaves⁠—the dead old leaves.
	He gathers up the leaves and presses them to his breast.
	Thou wilt not speak, Oh cruel art thou yet! Mine heart-strings are all broken saving one, That trembles and resounds with hymns to thee, That fill the blazing hollows of my heart. I’m dying! Oh forgive me if I touch Thy garment’s hem, thou visionary one!
	He approaches close to the Figure. A sudden light bursts over it.
Knight	A bearded witch, her sluggish head low bent On her broad breast! beneath her withered brows Shine dull unmoving eyes. What thing art thou? I sought thee not.
Figure	Men call me Infamy. I know not what I am.
Knight	I sought thee not.
Figure	Lover, the voice that summoned thee was mine.
Knight	For all I gave the voice, for all my youth, For all my joy.⁠—Ah woe!
	The Figure* raises a mirror in which the face and the form of the Knight are shadowed. He falls forward.*
The Figure	Bending over him and speaking in his ear. What! Lover, die before our lips have met?
Knight	Again, the voice! the voice!
	Dies.

In a Drawing-Room

Around the twitter of the lips of dust
A tossing laugh between their redness ’bides⁠—
With patient beauty yonder Attic bust
In the deep alcove’s dimness smiles and hides.

Two spirit things a man hath for his friends:
Sorrow that gives for guerdon liberty,
And joy, the touching of whose finger lends
To lightest of light things all sanctity.

Life

The child pursuing lizards in the grass,
The sage, who deep in central nature delves,
The preacher watching for the evil hour to pass,
All these are souls that fly from their dread selves.

The squirrel yonder, hushed and wise
Forswears his wandering ’mong the pine,
And wherefore, then, should thy grey eyes
Wander away from mine?

The talking winds have found their home,
Eve-soothed in some far leafy rest,
And wherefore should thy bright brow roam
Madonna from my breast?

A little while and⁠—red eve dies⁠—
Our love shall be of yesterday,
Ah, let us kiss each other’s eyes,
And laugh our love away.

“I laughed upon the lips of Sophocles,
I go as soft as folly; I am Fate.”
This heard I where among the apple trees,
Wild indolence and music have no date.

The Two Titans

A Political Poem

The vision of a rock where lightnings whirl’d
Bruising the darkness with their crackling light;
The waves, enormous wanderers of the world,
Beat on it with their hammers day and night.
Two figures crouching on the black rock, bound
To one another with a coiling chain;
A grey-haired youth, whose cheeks had never found,
Or long ere this had lost their ruddy stain;
A sibyl, with fierce face as of a hound
That dreams. She moveth, feeling in her brain
The lightnings pulse⁠—behold her, aye behold⁠—
Ignoble joy, and more ignoble pain
Cramm’d all her youth; and hates have bought and sold
Her spirit. As she moves, the foam-globes burst
Over her spotted flesh and flying hair
And her gigantic limbs. The weary thirst
Unquenchable still glows in her dull stare,
As round her, slow on feet that have no blood,
The phantoms of her faded pleasures walk;
And trailing crimson vans, a mumbling brood,
Ghosts of her vanished glories, muse and stalk
About the sea. Before her lies that youth,
Worn with long struggles; and the waves have sung
Their passion and their restlessness and ruth
Through his sad soul for ever old and young,
Till their fierce miseries within his eyes
Have lit lone tapers. Now the night was cast,
Making all one o’er rock and sea and skies;
And when once more the lightning Genii passed,
Strewing upon the rocks their steel-blue hair,
I saw him stagger with the clanking chain,
Trailing and shining ’neath the flickering glare.
With little cries of joy he kissed the rain
In creviced rocks, and laughed to the old sea,
And, nodding to and fro, sang songs of love,
And flowers and little children. Suddenly
Dropt down the velvet darkness from above,
Hiding away the ocean’s yelping flocks.
When flash on flash once more the lightning came,
The youth had flung his arms around the rocks,
And in the sibyl’s eyes a languid flame
Was moving. Bleeding now, his grasp unlocks,
And he is dragged again before her feet.
Why not? He is her own; and crouching nigh
Bending her face o’er his, she watches meet
And part his foaming mouth with eager eye⁠—

To place a kiss of fire on the dim brow
Of Failure, and to crown her crownless head,
That all men evermore may humbly bow
Down to the mother of the foiled and dead.
For this did the Eternal Darkness bring
Thither thy dust, and knead it with a cry,
Gathered on her own lips, Oh youth, and fling
Failure for glory down on thee, and mould
Thy withered foe, and with the purple wing
Of ocean fan thee into life, and fold
For ever round thy waking and thy sleep
The darkness of the whirlwind shattered deep.

On Mr. Nettleship’s Picture at the Royal Hibernian Academy

Yonder the sickle of the moon sails on,
But here the Lioness licks her soft cub
Tender and fearless on her funeral pyre;
Above, saliva dripping from his jaws,
The Lion, the world’s great solitary, bends
Lowly the head of his magnificence
And roars, mad with the touch of the unknown,
Not as he shakes the forest; but a cry
Low, long and musical. A dew-drop hung
Bright on a grass blade’s under side, might hear
Nor tremble to its fall. The fire sweeps round
Re-shining in his eyes. So ever moves
The flaming circle of the outer Law,
Nor heeds the old, dim protest and the cry
The orb of the most inner living heart
Gives forth. He, the Eternal, works His will.

Remembrance

Remembering thee, I search out these faint flowers
Of rhyme; remembering thee, this crescent night
While o’er the buds and o’er the grass-blades, bright
And clinging with the dew of odorous showers,
With purple sandals sweep the grave-eyed hours⁠—
Remembering thee, I muse, while fades in flight
The honey-hearted leisure of the light,
And hanging o’er the hush of willow bowers,

Of ceaseless loneliness and high regret
Sings the young wistful spirit of a star
Enfolden in the shadows of the East,
And silence holding revelry and feast;
Just now my soul rose up and touched it, far
In space, made equal with a sigh, we met.

Love Song

From the Gaelic

My love, we will go, we will go, I and you,
And away in the woods we will scatter the dew;
And the salmon behold, and the ousel too,
My love, we will hear, I and you, we will hear,
The calling afar of the doe and the deer.
And the bird in the branches will cry for us clear,
And the cuckoo unseen in his festival mood;
And death, oh my fair one, will never come near
In the bosom afar of the fragrant wood.

In Church

She prays for father, mother dear,
To Him with thunder shod,
She prays for every falling tear
In the holy church of God.

For all good men now fallen ill,
For merry men that weep,
For holiest teachers of His will,
And common men that sleep.

The sunlight flickering on the pews,
The sunlight in the air,
The flies that dance in threes, in twos,
They seem to join her prayer⁠—

Her prayer for father, mother dear,
To Him with thunder shod,
A prayer for every falling tear
In the holy church of God.

A Summer Evening

The living woods forego their care,
Their dread of autumn’s mortal wing,
And shake their birds upon the air,
And like a silver trumpet ring.

The giddy bee’s complacent croon,
Where long grey grasses bow and bend,
In all its honey-thickened tune
Has no word of the sulphurous end.

The sunflowers weave a golden clime,
As though their season had no date,
Nod to the iron shoes of Time,
And play with his immortal hate.

And, maiden, be thou mirthful too,
Lay down the burden of thy race,
For God is walking in the dew,
An evening presence fills the place.

The hollow woodlands feel Him there,
And dread no more foul autumn’s wing,
And shake their birds upon the air,
And like a silver trumpet ring.

In the Firelight

Come and dream of kings and kingdoms,
Cooking chestnuts on the bars⁠—
Round us the white roads are endless,
Mournful under mournful stars.

Whisper lest we too may sadden,
Round us herds of shadows steal⁠—
Care not if beyond the shadows
Flieth Fortune’s furious wheel.

Kingdoms rising, kingdoms falling,
Bowing nations, plumèd wars⁠—
Weigh them in an hour of dreaming,
Cooking chestnuts on the bars.

Where My Books Go

All the words that I gather,
And all the words that I write,
Must spread out their wings untiring,
And never rest in their flight,
Till they come where your sad, sad heart is,
And sing to you in the night,
Beyond where the waters are moving,
Storm darkened or starry bright.

The Lamentation of the Old Pensioner

I had a chair at every hearth,
When no one turned to see,
With “Look at that old fellow there,
And who may he be?”
And therefore do I wander now,
And the fret lies on me.

The road-side trees keep murmuring
Ah, wherefore murmur ye,
As in the old days long gone by,
Green oak and poplar tree?
The well-known faces are all gone
And the fret lies on me.

The Wanderings of Usheen1

“Give me the world if thou wilt, but grant me an asylum for my affections.”
Tulka

To Edwin J. Ellis

Book I

S. Patric	You who are bent, and bald, and blind, With a heavy heart and a wandering mind, Have known three centuries, poets sing, Of dalliance with a demon thing.
Usheen	Sad to remember, sick with years, The swift innumerable spears, The horsemen with their floating hair, And bowls of barley, honey, and wine, And feet of maidens dancing in tune, And the white body that lay by mine; But the tale, though words be lighter than air, Must live to be old like the wandering moon. Caolte, and Conan, and Finn were there, When we followed a deer with our baying hounds, With Bran, Sgeolan, and Lomair, And passing the Firbolgs’ burial mounds Came to the cairn-heaped grassy hill Where passionate Maive is stony still; And found on the dove-grey edge of the sea A pearl-pale, high-born lady, who rode On a horse with bridle of findrinny; And like a sunset were her lips, A stormy sunset on doomed ships; A citron colour gloomed in her hair, But down to her feet white vesture flowed, And with the glimmering crimson glowed Of many a figured embroidery; And it was bound with a pearl-pale shell That wavered like the summer streams, As her soft bosom rose and fell.
S. Patric	You are still wrecked among heathen dreams.
Usheen	“Why do you wind no horn?” she said. “And every hero droop his head? The hornless deer is not more sad That many a peaceful moment had, More sleek than any granary mouse, In his own leafy forest house Among the waving fields of fern: The hunting of heroes should be glad.” “O pleasant woman,” answered Finn, “We think on Oscar’s pencilled urn, And on the heroes lying slain, On Gavra’s raven-covered plain; But where are your noble kith and kin, And into what country do you ride?” “My father and my mother are Aengus and Adene, and my name Niam, and my country far Beyond the tumbling of this tide.” “What dream came with you that you came Through bitter tide on foam-wet feet? Did your companion wander away From where the birds of Aengus wing?” She said, with laughter tender and sweet: “I have not yet, war-weary king, Been spoken of with anyone; Yet now I choose, for these four feet Ran through the foam and ran to this That I might have your son to kiss.” “Were there no better than my son That you through all that foam should run?” “I loved no man, though kings besought Until the Danaan poets brought, Rhyme, that rhymed to Usheen’s name, And now I am dizzy with the thought Of all that wisdom and the fame, Of battles broken by his hands, Of stories builded by his words That are like coloured Asian birds At evening in their rainless lands.” O Patric, by your brazen bell, There was no limb of mine but fell Into a desperate gulf of love! “You only will I wed,” I cried, “And I will make a thousand songs, And set your name all names above, And captives bound with leathern thongs Shall kneel and praise you, one by one, At evening in my western dun.” “O Usheen, mount by me and ride To shores by the wash of the tremulous tide, Where men have heaped no burial mounds, And the days pass by like a wayward tune, Where broken faith has never been known, And the blushes of first love never have flown; And there I will give you a hundred hounds; No mightier creatures bay at the moon; And a hundred robes of murmuring silk, And a hundred calves and a hundred sheep Whose long wool whiter than sea froth flows, And a hundred spears and a hundred bows, And oil and wine and honey and milk, And always never-anxious sleep; While a hundred youths, mighty of limb, But knowing nor tumult nor hate nor strife, And a hundred maidens, merry as birds, Who when they dance to a fitful measure Have a speed like the speed of the salmon herds, Shall follow your horn and obey your whim, And you shall know the Danaan leisure: And Niam be with you for a wife.” Then she sighed gently, “It grows late, Music and love and sleep await, Where I would be when the white moon climbs, The red sun falls and the world grows dim.” And then I mounted and she bound me With her triumphing arms around me, And whispering to herself enwound me; But when the horse had felt my weight, He shook himself and neighed three times: Caolte, Conan, and Finn came near, And wept, and raised their lamenting hands, And bid me stay, with many a tear; But we rode out from the human lands. In what far kingdom do you go, Ah, Fenians, with the shield and bow? Or are you phantoms white as snow, Whose lips had life’s most prosperous glow? O you, with whom in sloping valleys, Or down the dewy forest alleys, I chased at morn the flying deer, With whom I hurled the hurrying spear, And heard the foemen’s bucklers rattle, And broke the heaving ranks of battle! And Bran, Sgeolan, and Lomair, Where are you with your long rough hair? You go not where the red deer feeds, Nor tear the foemen from their steeds.
S. Patric	Boast not, nor mourn with drooping head Companions long accurst and dead, And hounds for centuries dust and air.
Usheen	We galloped over the glossy sea: I know not if days passed or hours, And Niam sang continually Danaan songs, and their dewy showers Of pensive laughter, unhuman sound, Lulled weariness, and softly round My human sorrow her white arms wound. We galloped; now a hornless deer Passed by us, chased by a phantom hound All pearly white, save one red ear; And now a maiden rode like the wind With an apple of gold in her tossing hand; And a beautiful young man followed behind With quenchless eyes and fluttering hair. “Were these two born in the Danaan land, Or have they breathed the mortal air?” “Vex them no longer,” Niam said, And sighing bowed her gentle head, And sighing laid the pearly tip Of one long finger on my lip. But now the moon like a white rose shone In the pale west, and the sun’s rim sank, And clouds arrayed their rank on rank About his fading crimson ball: The floor of Allen’s hosting hall Was not more level than the sea, As full of loving fantasy, And with low murmurs we rode on, Where many a trumpet-twisted shell That in immortal silence sleeps Dreaming of her own melting hues, Her golds, her ambers, and her blues, Pierced with soft light the shallowing deeps. But now a wandering land breeze came And a far sound of feathery quires; It seemed to blow from the dying flame, They seemed to sing in the smouldering fires. The horse towards the music raced, Neighing along the lifeless waste; Like sooty fingers, many a tree Rose ever out of the warm sea; And they were trembling ceaselessly, As though they all were beating time, Upon the centre of the sun, To that low laughing woodland rhyme, And, now our wandering hours were done, We cantered to the shore, and knew The reason of the trembling trees: Round every branch the song-birds flew, Or clung thereon like swarming bees; While round the shore a million stood Like drops of frozen rainbow light, And pondered in a soft vain mood Upon their shadows in the tide, And told the purple deeps their pride, And murmured snatches of delight; And on the shores were many boats With bending sterns and bending bows, And carven figures on their prows Of bitterns, and fish-eating stoats, And swans with their exultant throats: And where the wood and waters meet We tied the horse in a leafy clump, And Niam blew three merry notes Out of a little silver trump; And then an answering whisper flew Over the bare and woody land, A whisper of impetuous feet, And ever nearer, nearer grew; And from the woods rushed out a band Of men and maidens, hand in hand, And singing, singing altogether; Their brows were white as fragrant milk, Their cloaks made out of yellow silk, And trimmed with many a crimson feather; And when they saw the cloak I wore Was dim with mire of a mortal shore, They fingered it and gazed on me And laughed like murmurs of the sea; But Niam with a swift distress Bid them away and hold their peace; And when they heard her voice they ran And knelt them, every maid and man And kissed, as they would never cease, Her pearl-pale hand and the hem of her dress. She bade them bring us to the hall Where Aengus dreams, from sun to sun, A Druid dream of the end of days When the stars are to wane and the world be done. They led us by long and shadowy ways Where drops of dew in myriads fall, And tangled creepers every hour Blossom in some new crimson flower, And once a sudden laughter sprang From all their lips, and once they sang Together, while the dark woods rang, And made in all their distant parts, With boom of bees in honey marts, A rumour of delighted hearts. And once a maiden by my side Gave me a harp, and bade me sing, And touch the laughing silver string; But when I sang of human joy A sorrow wrapped each merry face, And, Patric! by your beard, they wept, Until one came, a tearful boy; “A sadder creature never stepped Than this strange human bard,” he cried; And caught the silver harp away, And, weeping over the white strings, hurled It down in a leaf-hid, hollow place That kept dim waters from the sky; And each one said with a long, long sigh, “O saddest harp in all the world, Sleep there till the moon and the stars die!” And now still sad we came to where A beautiful young man dreamed within A house of wattles, clay, and skin; One hand upheld his beardless chin; And one a sceptre flashing out Wild flames of red and gold and blue, Like to a merry wandering rout Of dancers leaping in the air; And men and maidens knelt them there And showed their eyes with teardrops dim, And with low murmurs prayed to him, And kissed the sceptre with red lips, And touched it with their finger-tips. He held that flashing sceptre up. “Joy drowns the twilight in the dew, And fills with stars night’s purple cup, And wakes the sluggard seeds of corn, And stirs the young kid’s budding horn And makes the infant ferns unwrap, And for the peewit paints his cap, And rolls along the unwieldy sun, And makes the little planets run: And if joy were not on the earth, There were an end of change and birth, And earth and heaven and hell would die, And in some gloomy barrow lie Folded like a frozen fly; Then mock at Death and Time with glances And waving arms and wandering dances. “Men’s hearts of old were drops of flame That from the saffron morning came, Or drops of silver joy that fell Out of the moon’s pale twisted shell; But now hearts cry that hearts are slaves, And toss and turn in narrow caves; But here there is nor law nor rule, Nor have hands held a weary tool; And here there is nor Change nor Death, But only kind and merry breath, For joy is God and God is joy.” With one long glance on maid and boy And the pale blossom of the moon, He fell into a Druid swoon. And in a wild and sudden dance We mocked at Time and Fate and Chance And swept out of the wattled hall And came to where the dewdrops fall Among the foamdrops of the sea, And there we hushed the revelry; And, gathering on our brows a frown, Bent all our swaying bodies down, And to the waves that glimmer by That slooping green De Danaan sod Sang, “God is joy and joy is God. And things that have grown sad are wicked, And things that fear the dawn of the morrow Or the gray wandering osprey Sorrow.” We danced to where in the winding thicket The damask roses, bloom on bloom, Like crimson meteors hang in the gloom, And bending over them softly said, Bending over them in the dance With a swift and friendly glance From dewy eyes: “Upon the dead Fall the leaves of other roses, On the dead dim earth encloses: But never, never on our graves, Heaped beside the glimmering waves, Shall fall the leaves of damask roses. For neither Death nor Change comes near us, And all listless hours fear us, And we fear no dawning morrow, Nor the gray wandering osprey Sorrow.” The dance wound through the windless woods: The ever-summered solitudes; Until the tossing arms grew still Upon the woody central hill; And, gathered in a panting band, We flung on high each waving hand, And sang unto the starry broods. In our raised eyes there flashed a glow Of milky brightness to and fro As thus our song arose: “You stars, Across your wandering ruby cars Shake the loose reins: you slaves of God, He rules you with an iron rod, He holds you with an iron bond, Each one woven to the other, Each one woven to his brother Like bubbles in a frozen pond; But we in a lonely land abide Unchainable as the dim tide, With hearts that know nor law nor rule, And hands that hold no wearisome tool, Folded in love that fears no morrow, Nor the grey wandering osprey Sorrow.” O Patric! for a hundred years I chased upon that woody shore The deer, the badger, and the boar. O Patric! for a hundred years At evening on the glimmering sands, Beside the piled-up hunting spears, These now outworn and withered hands Wrestled among the island bands. O Patric! for a hundred years We went a-fishing in long boats With bending sterns and bending bows, And carven figures on their prows Of bitterns and fish-eating stoats. O Patric! for a hundred years The gentle Niam was my wife; But now two things devour my life; The things that most of all I hate; Fasting and prayers.
S. Patric	Tell on.
Usheen	Yes, yes. For these were ancient Oisin’s fate, Loosed long ago from heaven’s gate, For his last days to lie in wait. When one day by the tide I stood, I found in that forgetfulness Of dreamy foam a staff of wood From some dead warrior’s broken lance: I turned it in my hands; the stains Of war were on it, and I wept, Remembering how the Fenians stepped Along the blood-bedabbled plains, Equal to good or grievous chance: Thereon young Niam softly came And caught my hands, but spake no word Save only many times my name, In murmurs, like a frighted bird. We passed by woods, and lawns of clover, And found the horse and bridled him, For we knew well the old was over. I heard one say, “his eyes grow dim With all the ancient sorrow of men”; And wrapped in dreams rode out again With hoofs of the pale findrinny Over the glimmering purple sea: Under the golden evening light. The immortals moved among the fountains By rivers and the woods’ old night; Some danced like shadows on the mountains, Some wandered ever hand in hand; Or sat in dreams on the pale strand, Each forehead like an obscure star Bent down above each hooked knee, And sang, and with a dreamy gaze Watched where the sun in a saffron blaze Was slumbering half in the sea ways; And, as they sang, the painted birds Kept time with their bright wings and feet; Like drops of honey came their words, But fainter than a young lamb’s bleat. “An old man stirs the fire to blaze, In the house of a child, of a friend, of a brother; He has over-lingered his welcome; the days, Grown desolate, whisper and sigh to each other; He hears the storm in the chimney above, And bends to the fire and shakes with the cold, While his heart still dreams of battle and love, And the cry of the hounds on the hills of old. “But we are apart in the grassy places, Where care cannot trouble the least of our days, Or the softness of youth be gone from our faces, Or love’s first tenderness die in our gaze. The hare grows old as she plays in the sun And gazes around her with eyes of brightness; Before the swift things that she dreamed of were done She limps along in an aged whiteness; A storm of birds in the Asian trees Like tulips in the air a-winging, And the gentle waves of the summer seas, That raise their heads and wander singing, Must murmur at last ‘Unjust, unjust’; And ‘my speed is a weariness,’ falters the mouse, And the kingfisher turns to a ball of dust, And the roof falls in of his tunnelled house, But the love-dew dims our eyes till the day When God shall come from the sea with a sigh And bid the stars drop down from the sky, And the moon like a pale rose wither away.”

Book II

Usheen

Now, man of croziers, shadows called our names
And then away, away, like whirling flames;
And now fled by, mist-covered, without sound,
The youth and lady and the deer and hound;
“Gaze no more on the phantoms,” Niam said,
And kissed my eyes, and, swaying her bright head
And her bright body, sang of faery and man
Before God was or my old line began;
Wars shadowy, vast, exultant; faeries of old
Who wedded men with rings of Druid gold;
And how those lovers never turn their eyes
Upon the life that fades and flickers and dies,
But love and kiss on dim shores far away
Rolled round with music of the sighing spray:
But sang no more, as when, like a brown bee
That has drunk full, she crossed the misty sea
With me in her white arms a hundred years
Before this day; for now the fall of tears
Troubled her song. I do not know if days
Or hours passed by, yet hold the morning rays
Shone many times among the glimmering flowers
Woven in her hair, before dark towers
Rose in the darkness, and the white surf gleamed
About them; and the horse of faery screamed
And shivered, knowing the Isle of many Fears,
Nor ceased until white Niam stroked his ears
And named him by sweet names. A foaming tide
Whitened afar with surge, fan-formed and wide,
Burst from a great door marred by many a blow
From mace and sword and pole-axe, long ago
When gods and giants warred. We rode between
The seaweed-covered pillars; and the green
And surging phosphorus alone gave light
On our dark pathway, till a countless flight
Of moonlit steps glimmered; and left and right
Dark statues glimmered over the pale tide
Upon dark thrones. Between the lids of one
The imaged meteors had flashed and run
And had disported in the stilly jet,
And the fixed stars had dawned and shone and set,
Since God made Time and Death and Sleep: the other
Stretched his long arm to where, a misty smother,
The stream churned, churned, and churned⁠—his lips apart,
As though he told his never-slumbering heart
Of every foamdrop on its misty way.
Tying the horse to his vast foot that lay
Half in the unvesselled sea, we climbed the stairs
And climbed so long, I thought the last steps were
Hung from the morning star; when these mild words
Fanned the delighted air like wings of birds:
“My brothers spring out of their beds at morn,
A-murmur like young partridge: with loud horn
They chase the noontide deer;
And when the dew-drowned stars hang in the air
Look to long fishing-lines, or point and pare
An ashen hunting spear.

“O sigh, O fluttering sigh, be kind to me;
Flutter along the froth lips of the sea,
And shore, the froth lips wet:
And stay a little while, and bid them weep:
Ah, touch their blue-veined eyelids if they sleep,
And shake their coverlet.

“When you have told how I weep endlessly,
Flutter along the froth lips of the sea
And home to me again,
And in the shadow of my hair lie hid,
And tell that you found a man unbid,
The saddest of all men.”

A lady with soft eyes like funeral tapers,
And face that seemed wrought out of moonlit vapours,
And a sad mouth, that fear made tremulous
As any ruddy moth, looked down on us;
And she with a wave-rusted chain was tied
To two old eagles, full of ancient pride,
That with dim eyeballs stood on either side.
Few feathers were on their dishevelled wings,
For their dim minds were with the ancient things.

“I bring deliverance,” pearl-pale Niam said.

“Neither the living, nor the unlabouring dead,
Nor the high gods who never lived, may fight
My enemy and hope; demons for fright
Jabber and scream about him in the night;
For he is strong and crafty as the seas
That sprang under the Seven Hazel Trees,
And I must needs endure and hate and weep.
Until the gods and demons drop asleep,
Hearing Aed touch the mournful strings of gold.”

“Is he so dreadful?”

“Be not over-bold,
But, fly while still you may.”

And thereon I:
“This demon shall be battered till he die,
And his loose bulk be thrown in the loud tide.”

“Flee from him,” pearl-pale Niam weeping cried,
“For all men flee the demons”; but moved not
My angry king-remembering soul one jot;
There was no mightier soul of Heber’s line;
Now it is old and mouse-like. For a sign
I burst the chain: still earless, nerveless, blind,
Wrapped in the things of the unhuman mind,
In some dim memory or ancient mood
Still earless, nerveless, blind, the eagles stood.
And then we climbed the stair to a high door;
A hundred horsemen on the basalt floor
Beneath had paced content: we held our way
And stood within: clothed in a misty ray
I saw a foam-white seagull drift and float
Under the roof, and with a straining throat
Shouted, and hailed him: he hung there a star.
For no man’s cry shall ever mount so far;
Not even your God could have thrown down that hall;
Stabling His unloosed lightnings in their stall,
He had sat down and sighed with cumbered heart,
As though His hour were come.

We sought the part
That was most distant from the door; green slime
Made the way slippery, and time on time
Showed prints of sea-born scales, while down through it
The captive’s journeys to and fro were writ
Like a small river, and where feet touched, came
A momentary gleam of phosphorus flame.
Under the deepest shadows of the hall
That maiden found a ring hung on the wall,
And in the ring a torch, and with its flare
Making a world about her in the air,
Passed under the dim doorway, out of sight
And came again, holding a second light
Burning between her fingers, and in mine
Laid it and sighed: I held a sword whose shine
No centuries could dim, and a word ran
Thereon in Ogham letters, “Mananan”;
That sea-god’s name, who in a deep content
Sprang dripping, and, with captive demons sent
Out of the seven-fold seas, built the dark hall
Rooted in foam and clouds, and cried to all
The mightier masters of a mightier race;
And at his cry there came no milk-pale face
Under a crown of thorns and dark with blood,
But only exultant faces.

Niam stood
With bowed head, trembling when the white blade shone,
But she whose hours of tenderness were gone
Had neither hope nor fear. I bade them hide
Under the shadows till the tumults died
Of the loud crashing and earth-shaking fight,
Lest they should look upon some dreadful sight,
And thrust the torch between the slimy flags.
A dome made out of endless carven jags,
Where shadowy face flowed into shadowy face,
Looked down on me; and in the self-same place
I waited hour by hour, and the high dome,
Windowless, pillarless, multitudinous home
Of faces, waited; and the leisured gaze
Was loaded with the memory of days
Buried and mighty. When through the great door
The dawn came in, and glimmered on the floor
With a pale light, I journeyed round the hall
And found a door deep sunken in the wall,
The least of doors; beyond on a dim plain
A little runnel made a bubbling strain,
And on the runnel’s stony and bare edge
A dusky demon dry as a withered sedge
Swayed, crooning to himself an unknown tongue:
In a sad revelry he sang and swung
Bacchant and mournful, passing to and fro
His hand along the runnel’s side, as though
The flowers still grew there: far on the sea’s waste
Shaking and waving, vapour vapour chased,
While high frail cloudlets, fed with a green light,
Like drifts of leaves, immovable and bright,
Hung in the passionate dawn. He slowly turned:
A demon’s leisure: eyes, first white, now burned
Like wings of kingfishers; and he arose
Barking. We trampled up and down with blows
Of sword and brazen battle-axe, while day
Gave to high noon and noon to night gave way
And when he knew the sword of Mananan
Amid the shades of night, he changed and ran
Through many shapes; I lunged at the smooth throat
Of a great eel; it changed, and I but smote
A fir-tree roaring in its leafless top:
And thereupon I drew the livid chop
Of a drowned dripping body to my breast;
Horror from horror grew; but when the west
Had surged up in a plumy fire, I drave
Through heart and spine; and cast him in the wave
Lest Niam shudder.

Full of hope and dread
Those two came carrying wine and meat and bread,
And healed my wounds with unguents out of flowers
That feed white moths by some De Danaan shrine:
Then in that hall, lit by the dim sea shine,
We lay on skins of otters, and drank wine,
Brewed by the sea-gods, from huge cups that lay
Upon the lips of sea-gods in their day;
And then on heaped-up skins of otters slept.
And when the sun once more in saffron stepped,
Rolling his flagrant wheel out of the deep,
We sang the loves and angers without sleep,
And all the exultant labours of the strong.
But now the lying clerics murder song
With barren words and flatteries of the weak.
In what land do the powerless turn the beak
Of ravening Sorrow, or the hand of Wrath?
For all your croziers, they have left the path
And wander in the storms and clinging snows,
Hopeless for ever: ancient Usheen knows,
For he is weak and poor and blind, and lies
On the anvil of the world.

S. Patric

Be still: the skies
Are choked with thunder, lightning, and fierce wind,
For God has heard, and speaks His angry mind;
Go cast your body on the stones and pray,
For He has wrought midnight and dawn and day.

Usheen

Saint, do you weep? I hear amid the thunder
The Fenian horses; armour torn asunder;
Laughter and cries. The armies clash and shock;
And now the daylight-darkening ravens flock.
Cease, cease, oh mournful, laughing Fenian horn!

We feasted for three days. On the fourth morn
I found, dropping sea foam on the wide stair,
And hung with slime, and whispering in his hair,
That demon dull and unsubduable;
And once more to a day-long battle fell,
And at the sundown threw him in the surge,
To lie until the fourth morn saw emerge
His new healed shape; and for a hundred years
So warred, so feasted, with nor dreams nor fears,
Nor languor nor fatigue; an endless feast,
An endless war.

The hundred years had ceased;
I stood upon the stair; the surges bore
A beech bough to me, and my heart grew sore,
Remembering how I stood by white-haired Finn
Under a beech at Allen and heard the thin
Outcry of bats.

And then young Niam came
Holding that horse, and sadly called my name.
I mounted, and we passed over the lone
And drifting greyness, while this monotone,
Surly and distant, mixed inseparably
Into the clangour of the wind and sea.

“I hear my soul drop down into decay,
And Mananan’s dark tower, stone by stone,
Gather sea slime and fall the seaward way,
And the moon goad the waters night and day,
That all be overthrown.

“But till the moon has taken all, I wage
War on the mightiest men under the skies,
And they have fallen or fled, age after age.
Light is man’s love, and lighter is man’s rage;
His purpose drifts and dies.”

And then lost Niam murmured, “Love, we go
To the Island of Forgetfulness, for lo!
The Islands of Dancing and of Victories
Are empty of all power.”

“And which of these
Is the Island of Content?”

“None know,” she said;
And on my bosom laid her weeping head.

Book III

Usheen	Fled foam underneath us, and round us, a wandering and milky smoke, High as the saddle girth, covering away from our glances the tide; And those that fled, and that followed, from the foam-pale distance broke; The immortal desire of immortals we saw in their faces, and sighed. I mused on the chase with the Fenians, and Bran, Sgeolan, Lomair, And never a song sang Niam, and over my finger-tips Came now the sliding of tears and sweeping of mist-cold hair, And now the warmth of sighs, and after the quiver of lips. Were we days long or hours long in riding, when rolled in a grisly peace, An isle lay level before us, with dripping hazel and oak? And we stood on a sea’s edge we saw not; for whiter than new-washed fleece Fled foam underneath us, and round us, a wandering and milky smoke. And we rode on the plains of the sea’s edge; the sea’s edge barren and grey, Grey sand on the green of the grasses and over the dripping trees, Dripping and doubling landward, as though they would hasten away Like an army of old men longing for rest from the moan of the seas. But the trees grew taller and closer, immense in their wrinkling bark; Dropping; a murmurous dropping; old silence and that one sound; For no live creatures lived there, no weasels moved in the dark: Long sighs arose in our spirits, beneath us bubbled the ground. And the ears of the horse went sinking away in the hollow night, For, as drift from a sailor slow drowning the gleams of the world and the sun, Ceased on our hands and our faces, on hazel and oak leaf, the light, And the stars were blotted above us, and the whole of the world was one. Till the horse gave a whinny; for, cumbrous with stems of the hazel and oak, A valley flowed down from his hoofs, and there in the long grass lay, Under the starlight and shadow, a monstrous slumbering folk, Their naked and gleaming bodies poured out and heaped in the way. And by them were arrow and war-axe, arrow and shield and blade; And dew-blanched horns, in whose hollow a child of three years old Could sleep on a couch of rushes, and all inwrought and inlaid, And more comely than man can make them with bronze and silver and gold. And each of the huge white creatures was huger than fourscore men; The tops of their ears were feathered, their hands were the claws of birds, And, shaking the plumes of the grasses and the leaves of the mural glen, The breathing came from those bodies, long-warless, grown whiter than curds. The wood was so spacious above them, that He who had stars for His flocks Could fondle the leaves with His fingers, nor go from His dew-cumbered skies; So long were they sleeping, the owls had builded their nests in their locks, Filling the fibrous dimness with long generations of eyes. And over the limbs and the valley the slow owls wandered and came, Now in a place of star-fire, and now in a shadow place wide: And the chief of the huge white creatures, his knees in the soft star-flame, Lay loose in a place of shadow: we drew the reins by his side. Golden the nails of his bird-claws, flung loosely along the dim ground; In one was a branch soft-shining with bells more many than sighs In midst of an old man’s bosom; owls ruffling and pacing around, Sidled their bodies against him, filling the shade with their eyes. And my gaze was thronged with the sleepers; no, not since the world began, In realms where the handsome were many, nor in glamours by demons flung, Have faces alive with such beauty been known to the salt eye of man, Yet weary with passions that faded when the sevenfold seas were young. And I gazed on the bell-branch, sleep’s forebear, far sung by the Sennachies. I saw how those slumberers, grown weary, there camping in grasses deep, Of wars with the wide world and pacing the shores of the wandering seas, Laid hands on the bell-branch and swayed it, and fed of unhuman sleep. Snatching the horn of Niam, I blew a long lingering note. Came sound from those monstrous sleepers, a sound like the stirring of flies. He, shaking the fold of his lips, and heaving the pillar of his throat, Watched me with mournful wonder out of the wells of his eyes. I cried, “Come out of the shadow, king of the nails of gold! And tell of your goodly household and the goodly works of your hands, That we may muse in the starlight and talk of the battles of old; Your questioner, Usheen, is worthy, he comes from the Fenian lands.” Half open his eyes were, and held me, dull with the smoke of their dreams; His lips moved slowly in answer, no answer out of them came; Then he swayed in his fingers the bell-branch, slow dropping a sound in faint streams Softer than snow-flakes in April and piercing the marrow like flame. Wrapt in the wave of that music, with weariness more than of earth, The moil of my centuries filled me; and gone like a sea-covered stone Were the memories of the whole of my sorrow and the memories of the whole of my mirth, And a softness came from the starlight and filled me full to the bone. In the roots of the grasses, the sorrels, I laid my body as low; And the pearl-pale Niam lay by me, her brow on the midst of my breast; And the horse was gone in the distance, and years after years ’gan flow; Square leaves of the ivy moved over us, binding us down to our rest. And, man of the many white croziers, a century there I forgot; How the fetlocks drip blood in the battle, when the fallen on fallen lie rolled; How the falconer follows the falcon in the weeds of the heron’s plot, And the names of the demons whose hammers made armour for Conhor of old. And, man of the many white croziers, a century there I forgot; That the spear-shaft is made out of ashwood, the shield out of ozier and hide; How the hammers spring on the anvil, on the spear-head’s burning spot, How the slow, blue-eyed oxen of Fin low sadly at evening tide. But in dreams, mild man of the croziers, driving the dust with their throngs, Moved round me, of seamen or landsmen, all who are winter tales; Came by me the kings of the Red Branch, with roaring of laughter and songs, Or moved as they moved once, love-making or piercing the tempest with sails. Came Blanid, Mac Nessa, tall Fergus who feastward of old time slunk, Cook Barach, the traitor; and warward, the spittle on his beard never dry, Dark Balor, as old as a forest, car borne, his mighty head sunk Helpless, men lifting the lids of his weary and death-making eye. And by me, in soft red raiment, the Fenians moved in loud streams, And Grania, walking and smiling, sewed with her needle of bone. So lived I and lived not, so wrought I and wrought not, with creatures of dreams, In a long iron sleep, as a fish in the water goes dumb as a stone. At times our slumber was lightened. When the sun was on silver or gold; When brushed with the wings of the owls, in the dimness they love going by; When a glow-worm was green on a grass leaf, lured from his lair in the mould; Half-wakening, we lifted our eyelids, and gazed on the grass with a sigh. So watched I when, man of the croziers, at the heel of a century fell, Weak, in the midst of the meadow, from his miles in the midst of the air, A starling like them that forgathered ’neath a moon waking white as a shell When the Fenians made foray at morning with Bran, Sgeolan, Lomair. I awoke: the strange horse without summons out of the distance ran, Thrusting his nose to my shoulder; he knew in his bosom deep That once more moved in my bosom the ancient sadness of man, And that I would leave the immortals, their dimness, their dews dropping sleep. O had you seen beautiful Niam grow white as the waters are white, Lord of the croziers, you even had lifted your hands and wept: But, the bird in my fingers, I mounted, remembering alone that delight Of twilight and slumber were gone, and that hoofs impatiently stepped. I cried, “O Niam! O white one! if only a twelve-houred day, I must gaze on the beard of Finn, and move where the old men and young In the Fenians’ dwellings of wattle lean on the chessboards and play, Ah, sweet to me now were even bald Conan’s slanderous tongue! “Like me were some galley forsaken far off in Meridian isle. Remembering its long-oared companions, sails turning to thread-bare rags; No more to crawl on the seas with long oars mile after mile, But to be amid shooting of flies and flowering of rushes and flags.” Their motionless eyeballs of spirits grown mild with mysterious thought Watched her those seamless faces from the valley’s glimmering girth; As she murmured, “O wandering Usheen, the strength of the bell-branch is naught, For there moves alive in your fingers the fluttering sadness of earth. “Then go through the lands in the saddle and see what the mortals do, And softly come to your Niam over the tops of the tide; But weep for your Niam, O Usheen, weep; for if only your shoe Brush lightly as haymouse earth’s pebbles, you will come no more to my side. “O flaming lion of the world, O when will you turn to your rest?” I saw from a distant saddle; from the earth she made her moan; “I would die like a small withered leaf in the autumn, for breast unto breast We shall mingle no more, nor our gazes empty their sweetness lone. “In the isles of the farthest seas where only the spirits come, Were the winds less soft than the breath of a pigeon who sleeps on her nest, Nor lost in the star-fires and odours the sound of the sea’s vague drum? O flaming lion of the world, O when will you turn to your rest?” The wailing grew distant; I rode by the woods of the wrinkling bark, Where ever is murmurous dropping, old silence and that one sound; For no live creatures live there, no weasels move in the dark; In a reverie forgetful of all things, over the bubbling ground. And I rode by the plains of the sea’s edge, where all is barren and grey, Grey sands on the green of the grasses and over the dripping trees, Dripping and doubling landward, as though they would hasten away, Like an army of old men longing for rest from the moan of the seas. And the winds made the sands on the sea’s edge turning and turning go, As my mind made the names of the Fenians. Far from the hazel and oak, I rode away on the surges, where, high as the saddle bow, Fled foam underneath me, and round me, a wandering and milky smoke. Long fled the foam-flakes around me, the winds fled out of the vast, Snatching the bird in secret; nor knew I, embosomed apart, When they froze the cloth on my body like armour riveted fast, For Remembrance, lifting her leanness, keened in the gates of my heart. Till fattening the winds of the morning, an odour of new-mown hay Came and my forehead fell low, and my tears like berries fell down; Later a sound came, half lost in the sound of a shore far away, From the great grass-barnacle calling, and later the shore-weeds brown. If I were as I once was, the strong hoofs crushing the sand and the shells, Coming out of the sea as the dawn comes, a chaunt of love on my lips, Not coughing, my head on my knees, and praying, and wroth with the bells, I would leave no saint’s head on his body from Rachlin to Bera of ships. Making way from the kindling surges, I rode on a bridle-path Much wondering to see upon all hands, of wattles and woodwork made, Your bell-mounted churches, and guardless the sacred cairn and the rath, And a small and a feeble populace stooping with mattock and spade. Or weeding or ploughing with faces a-shining with much-toil wet; While in this place and that place, with bodies unglorious their chieftains stood, Awaiting in patience the straw-death, croziered one, caught in your net: Went the laughter of scorn from my mouth like the roaring of wind in a wood. And because I went by them so huge and so speedy with eyes so bright, Came after the hard gaze of youth, or an old man lifted his head: And I rode and I rode, and I cried out, “The Fenians hunt wolves in the night, So sleep they by daytime.” A voice cried, “The Fenians a long time are dead.” A whitebeard stood hushed on the pathway, the flesh of his face as dried grass, And in folds round his eyes and his mouth, he sad as a child without milk; And the dreams of the islands were gone, and I knew how men sorrow and pass, And their hound, and their horse, and their love, and their eyes that glimmer like silk. And wrapping my face in my hair, I murmured, “In old age they ceased”; And my tears were larger than berries, and I murmured, “Where white clouds lie spread On Crevroe or broad Knockfefin, with many of old they feast On the floors of the gods.” He cried, “No, the gods a long time are dead.” And lonely and longing for Niam, I shivered and turned me about, The heart in me longing to leap like a grasshopper into her heart; I turned and rode to the westward, and followed the sea’s old shout Till I saw where Maive lies sleeping till starlight and midnight part. And there at the foot of the mountain, two carried a sack full of sand, They bore it with staggering and sweating, but fell with their burden at length. Leaning down from the gem-studded saddle, I flung it five yards with my hand, With a sob for men waxing so weakly, a sob for the Fenians’ old strength. The rest you have heard of, O croziered one; how, when divided the girth, I fell on the path, and the horse went away like a summer fly; And my years three hundred fell on me, and I rose and walked on the earth, A creeping old man, full of sleep, with the spittle on his beard never dry. How the men of the sand-sack showed me a church with its belfry in air; Sorry place, where for swing of the war-axe in my dim eyes the crozier gleams; What place have Caolte and Conan, and Bran, Sgeolan, Lomair? Speak, you too are old with your memories, an old man surrounded with dreams.
S. Patric	Where the flesh of the footsole clingeth on the burning stones is their place; Where the demons whip them with wires on the burning stones of wide hell, Watching the blessed ones move far off, and the smile on God’s face, Between them a gateway of brass, and the howl of the angels who fell.
Usheen	Put the staff in my hands; for I go to the Fenians, O cleric, to chaunt The war-songs that roused them of old; they will rise, making clouds with their breath Innumerable, singing, exultant; the clay underneath them shall pant, And demons be broken in pieces, and trampled beneath them in death. And demons afraid in their darkness; deep horror of eyes and of wings, Afraid their ears on the earth laid, shall listen and rise up and weep; Hearing the shaking of shields and the quiver of stretched bowstrings, Hearing Hell loud with a murmur, as shouting and mocking we sweep. We will tear out the flaming stones, and batter the gateway of brass And enter, and none sayeth “No” when there enters the strongly armed guest; Make clean as a broom cleans, and march on as oxen move over young grass; Then feast, making converse of wars, and of old wounds, and turn to our rest.
S. Patric	On the flaming stones, without refuge, the limbs of the Fenians are tost; None war on the masters of Hell, who could break up the world in their rage; Kneel, Usheen, wear out the flags and pray for your soul that is lost Through the demon love of its youth and its godless and passionate age.
Usheen	Ah, me! to be shaken with coughing and broken with old age and pain, Without laughter, a show unto children, alone with remembrance and fear; All emptied of purple hours as a beggar’s cloak in the rain, As a hay-cock out on the flood, or a wolf sucked under a weir. It were sad to gaze on the blessed and no man I loved of old there; I throw down the chain of small stones! when life in my body has ceased, I will go to Caolte, and Conan, and Bran, Sgeolan, Lomair, And dwell in the house of the Fenians, be they in flames or at feast.

The Danaan Quicken Tree2

Beloved, hear my bitter tale!⁠—
Now making busy with the oar,
Now flinging loose the slanting sail,
I hurried from the woody shore,
And plucked small fruits on Innisfree.
(Ah, mournful Danaan quicken tree!)

A murmuring faery multitude,
When flying to the heart of light
From playing hurley in the wood
With creatures of our heavy night,
A berry threw for me⁠—or thee.
(Ah, mournful Danaan quicken tree!)

And thereon grew a tender root,
And thereon grew a tender stem,
And thereon grew the ruddy fruit
That are a poison to all men
And meat to the Aslauga Shee.
(Ah, mournful Danaan quicken tree!)

If when the battle is half won,
I fling away my sword, blood dim,
Or leave some service all undone,
Beloved, blame the Danaan whim,
And blame the snare they set for me.
(Ah, mournful Danaan quicken tree!)

Cast out all hope, cast out all fear,
And taste with me the faeries’ meat,
For while I blamed them I could hear
Dark Joan call the berries sweet,
Where Niam heads the revelry.
(Ah, mournful Danaan quicken tree!)

Wisdom and Dreams

I pray that I ever be weaving
An intellectual tune,
But weaving it out of threads
From the distaff of the moon.

Wisdom and dreams are one,
For dreams are the flowers ablow,
And Wisdom the fruit of the garden:
God planted him long ago.

Time and the Witch Vivien

A marble-flagged, pillared room. Magical instruments in one corner. A fountain in the centre.

Vivien	Looking down into the fountain. Where moves there any beautiful as I, Save, with the little golden greedy carp, Gold unto gold, a gleam in its long hair, My image yonder? Spreading her hand over the water. Ah, my beautiful, What roseate fingers! Turning away. No; nor is there one Of equal power in spells and secret rites. The proudest or most coy of spirit things, Hide where he will, in wave or wrinkled moon, Obeys. Some fierce magician flies or walks Beyond the gateway⁠—by the sentries now⁠— Close and more close⁠—I feel him in my heart⁠— Some great one. No; I hear the wavering steps Without there of a little, light old man; I dreamt some great one. Catching sight of her image, and spreading her hand over the water. Ah, my beautiful, What roseate fingers!
	Enter Time* as an old pedlar, with a scythe, an hour-glass, and a black bag.*
	Ha, ha! ha, ha, ha! The wrinkled squanderer of human wealth. Come here. Be seated now; I’d buy of you. Come, father.
Time	Lady, I nor rest nor sit.
Vivien	Well then, to business; what is in your bag?
Time	Putting the bag and hour-glass on the table and resting on his scythe. Grey hairs and crutches, crutches and grey hairs, Mansions of memories and mellow thoughts Where dwell the minds of old men having peace, And⁠—
Vivien	No; I’ll none of these, old Father Wrinkles.
Time	Some day you’ll buy them, maybe.
Vivien	Never!
Time	Laughing. Never?
Vivien	Why do you laugh?
Time	I laugh the last always.
	She lays the hour-glass on one side. Time* rights it again.*
Vivien	I do not need your scythe. May that bring peace To those your “mellow” wares have wearied out. I’d buy your glass.
Time	My glass I will not sell. Without my glass I’d be a sorry clown.
Vivien	Yet whiter beard have you than Merlin had.
Time	No taste have I for slumber ’neath an oak.
Vivien	When were you born?
Time	Before your grandam Eve.
Vivien	Oh, I am weary of that foolish tale. They say you are a gambler and a player At chances and at moments with mankind. I’ll play you for your old hour-glass. Pointing to the instruments of magic. You see I keep such things about me; they are food For antiquarian meditation.
	Brings dice.
Time	Ay, We throw three times.
Vivien	Three-six.
Time	Four-six.
Vivien	Five-six. Ha, Time!
Time	Double sixes!
Vivien	I lose! They’re loaded dice. Time always plays With loaded dice. Another chance! Come, father; Come to the chess, for young girls’ wits are better Than old men’s any day, as Merlin found.
	Places the chess-board on her knees.
	The passing of those little grains is snow Upon my soul, old Time.
	She lays the hour-glass on its side.
Vivien	No; thus it stands. Rights it again. For other stakes we play. You lost the glass.
Vivien	Then give me triumph in my many plots.
Time	Defeat is death.
Vivien	Should my plots fail I’d die.
	They play.
	Thus play we first with pawns, poor things and weak; And then the great ones come, and last the king. So men in life and I in magic play; First dreams, and goblins, and the lesser sprites, And now with Father Time I’m face to face.
	They play.
	I trap you.
Time	Check.
Vivien	I do miscalculate. I am dull to-day, or you were now all lost. Chance, and not skill, has favoured you, old father!
	She plays.
Vivien	Check.
Vivien	Ah! how bright your eyes. How swift your moves. How still it is! I hear the carp go splash, And now and then a bubble rise. I hear A bird walk on the doorstep.
	She plays.
Time	Check once more.
Vivien	I must be careful now. I have such plots⁠— Such war plots, peace plots, love plots⁠—every side; I cannot go into the bloodless land Among the whimpering ghosts.
Time	Mate thus.
Vivien	Already? Chance hath a skill!
	She dies.

Kanva on Himself

Now wherefore hast thou tears innumerous?
Hast thou not known all sorrow and delight
Wandering of yore in forests rumorous,
Beneath the flaming eyeballs of the night,

And as a slave been wakeful in the halls
Of Rajas and Mahrajas beyond number?
Hast thou not ruled among the gilded walls?
Hast thou not known a Raja’s dreamless slumber?

Hast thou not sat of yore upon the knees
Of myriads of beloveds, and on thine
Have not a myriad swayed below strange trees
In other lives? Hast thou not quaffed old wine

By tables that were fallen into dust
Ere yonder palm commenced his thousand years?
Is not thy body but the garnered rust
Of ancient passions and of ancient fears?

Then wherefore fear the usury of Time,
Or Death that cometh with the next life-key?
Nay, rise and flatter her with golden rhyme,
For as things were so shall things ever be.

The Phantom Ship

Flames the shuttle of the lightning across the driving sleet,
Ay, and shakes in sea-green waverings along the fishers’ street;
Gone the stars and gone the white moon, gone and puffed away and dead.
Never storm arose so swiftly; scarce the children were in bed,
Scarce the old and wizen houses had their doors and windows shut.
Ah! it dwelt within the twilight as the worm within the nut.
“Waken, waken, sleepy fishers; no hour is this for sleep,”
Cries a voice at roaring midnight beside the moonless deep.
Half dizzy with the lightning there runs a gathering band⁠—
“Watcher, wherefore have ye called us?” Eyes go after his lean hand,
And the fisher men and women from the dripping harbour wall
See the darkness slow disgorging a vessel blind with squall.
“Bring the ropes now! Stand ye by now! See, she rounds the harbour clear.
God! they’re mad to fly such canvas!” Ah! what bell-notes do they hear?
Say what ringer rings at midnight; for, in the belfry high,
Slow the chapel bell is tolling as though the dead passed by.
Round she comes in stays before them; cease the winds, and on their poles
Cease the sails their flapping uproar, and the hull no longer rolls.
Now a scream from all those fishers, for there on deck there be
All the drowned that ever were drowned from that village by the sea;
And the ghastly ghost-flames glimmer all along the taffrail rails
On the drowned men’s hands and faces, on the spars and on the sails.
Hush’d the fishers, till a mother calls by name her drownèd son;
Then each wife and maid and mother calls by name some drownèd one.
Stands each grey and silent phantom on the same regardless spot⁠—
Joys and fears in their grey faces that the live earth knoweth not;
Down the vapours fall and hide them from the children of a day,
And the winds come down and blow them with the vapours far away.
Hang the mist-threads for a little while like cobwebs in the air;
Then the stars grow out of heaven with their countenances fair.

“Pray for the souls in purgatory,” the pale priest trembling cries.

Prayed those forgotten fishers, till in the eastern skies
Came olive fires of morning and on the darkness fed,
By the slow heaving ocean⁠—mumbling mother of the dead.

A Lover’s Quarrel Among the Fairies

A moonlit moor. Fairies leading a child.

Male Fairies.

Do not fear us, earthly maid!
We will lead you hand in hand
By the willows in the glade,
By the gorse on the high land,

By the pasture where the lambs
Shall awake with lonely bleat,
Shivering closer to their dams
From the rustling of our feet.

You will with the banshee chat,
And will find her good at heart,
Sitting on a warm smooth mat
In the green hill’s inmost part.

We will bring a crown of gold,
Bending humbly every knee,
Now thy great white doll to hold⁠—
Oh, so happy would we be!

Ah! it is so very big,
And we are so very small!
So we dance a fairy jig
To the fiddle’s rise and fall.

Yonder see the fairy girls
All their jealousy display,
Lift their chins and toss their curls,
Lift their chins and turn away.

See you, brother, Cranberry Fruit⁠—
Ho! ho! ho! the merry blade!⁠—
Hugs and pets and pats yon newt,
Teasing every wilful maid.

Girl Fairies.

Lead they one with foolish care,
Deafening us with idle sound⁠—
One whose breathing shakes the air,
One whose footfall shakes the ground.

Come you, Coltsfoot, Mousetail, come!
Come I know where, far away,
Owls there be whom age makes numb;
Come and tease them till the day

Puffed like puff-balls on a tree,
Scoff they at the modern earth⁠—
Ah! how large mice used to be
In their days of youthful mirth!

Come, beside a sandy lake,
Feed a fire with stems of grass;
Roasting berries steam and shake⁠—
Talking hours swiftly pass!

Long before the morning fire
Wake the larks upon the green.
Yonder foolish ones will tire
Of their tall, new-fangled queen.

They will lead her home again
To the orchard-circled farm;
At the house of weary men
Raise the door-pin with alarm,

And come kneeling on one knee,
While we shake our heads and scold
This their wanton treachery,
And our slaves be as of old.

How Ferencz Renyi Kept Silent

Hungary, 1848

We, too, have seen our bravest and our best
To prisons go, and mossy ruin rest
Where homes once whitened vale and mountain crest;
Therefore, O nation of the bleeding breast,
Libations, from the Hungary of the West.

Before his tent the General sips his wine,
Waves off the flies, and warms him in the shine.
The Austrian Haynau he, in many lands
Famous, a man of rules, a victor. Stands
Before him one well guarded, with bound hands;
Schoolmaster he, a dreamer, fiddler, first
In every dance, by children sought. “Accurst,
Thy name is?”
“Renyi.”
“Of?”
“This village.”
“Good!
Hiding the rebels worm in yonder wood
Or yonder mountains. Where? Thou shalt be free⁠—
Silence! Thou shalt be dead!”

Now suddenly
The spirit of young Renyi has grown old.
He turns where, hung like drops of dripping gold,
Flashing and flickering with ever-undulant wing
About a sun-flushed dove-cot, cooing, cling
The doves whose growing forms he’d watched. Not these
He numbers. He a brown farm-house sees,
Where shadow of cherry, and shadow of apple trees,
Enclose a quiet place of beds box-bordered, bees,
Hives, currant bushes. There his kin are. High
Above, the woods where with the soft mild eye
Of her he loved fixed on him full of light,
Often he had bent down some bough all bright
With berries. Placid as a homeward bee,
Glad, simple⁠—nay, he sought not mystery,
Nor, gazing forth where life’s sad sickles reap,
Searched the unsearchable⁠—why good men weep;
Why those who do good often be not good,
Why they who will the highest sometimes brood,
Clogged in a marsh where the slow marsh clay clings,
Abolished by a mire of little things,
Untuned by their own striving. If one such
Were here, he would turn death into a crutch;
But this one⁠—this one. Now his head drops low,
Drops on his bosom, sombre, moist and slow.
“Choose!” Restless Haynau’s fingers tapping go.
This sullen peasant spoils the good sunshine,
This sullen peasant spoils the good red wine.
He whispers to a soldier, who goes out⁠—
A neighbouring cricket lifts his shrilly shout
Reiterant. A bird goes by the tent,
A lizard crawls⁠—the two men gaze intent,
As though they’d vowed to measure all its ways.

Returns that soldier in the evening rays
Half hid. He brings the peasant’s only kin,
Two women, withered one and small and thin,
Bent low with toil and hoariest years. The other
Of middle age. “His sister here and mother.”
The soldier thus, and Haynau⁠—“Peasant, speak
If these be precious.”

“I am old and weak,”
That ancient mother cries, “speak not, my son.
I’m weak, and by the hands shall hold each one
Of my dead children soon, whate’er betide,
For I am old and weak.”

And at her side
The sister: “Sell thy country, and the shame
Of traitor evermore is on our name.”
Haynau, the man of system, lifts his hand
Serene. They’re led away, and where a band
Of soldiers ranked is on a grassy spot,
A score of yards off ’neath a willow, shot.

“Now hath he kith or kin, or any friend?”
A soldier answers: “By the camp’s far end
I saw a girl afraid to be too near,
Afraid to be too far.” “Ay, bring her here!”

Time goes. The flakèd fire of evening crawls
Along the tents, the fields, the village walls.
The hare hath laid asleep her frolic wits,
And every flower above its shadow sits.
“On this embroidered cloud,” the sun hath said,
“A little will I lay my weary head,
Among the gold, the amber, and the red.”
A careful field-mouse finds a fallen crumb;
Now steps draw close, he hides beneath a drum.
That maiden bring they. When the tall red deer
In trouble is, the doe will linger near.
A peasant pale and pretty, her eyes for fear,
Like small brown moths, a-tremble.

“Renyi say
Where worm the rebels, or my bullets lay
The young one with the others.” Renyi’s pale
But speechless, and the maiden with long wail
Flings her before him. “Save thyself and me.
Speak, Ferencz, speak. We love each other. See,
I am so young. Dost thou no longer know,
Beloved, how two little years ago
I came the first time to thy village school?
Thou hast forgotten. On the oaken stool
I sat me down beside thee, and I knew
So little. As the months passed by we grew
To love each other. In my prayer-book still
The violets are that on the wooded hill
We gathered. Ferencz, nay, I must not die:
I am to be your wife. A village high
And lost and far in yonder hills I know;
There far away from all we two will go,
And be so happy.”

To his hands she clings,
With cries and murmurs. Suddenly he flings
Away her clinging hands, and turns. She throws
Her arms around his feet. The signal goes
From Haynau’s lifted fingers⁠—two draw nigh
And seize her, and thus floats her quivering cry:
“Assassin, my assassin! thou who let’st me die,
I curse thee⁠—curse thee!”

Renyi silent stands,
And she is dragged to where the willow bands
With quiet shade its ever dewy-plot.
Noise! and a flash, a momentary blot.
So ends a brain⁠—a world!

The smoke goes up,
Creeping along the heavens’ purple cup,
Higher and higher gold with evening light;
It seems to fondle, with a finger bright
And soft, one glimmering star.

Renyi has cast
His bonds away, sore struggling.

Now at last
Haynau, thine hour has come, thy followers far
Beside the willow.

Nay, to yonder star,
Yon bauble of the heavens, he lifts his hands,
And over tillage fields and pasture lands
Where lies the cow at peace beside her calf,
He rushes, rolling from his lips a madman’s laugh.

The Fairy Doctor

The fairy doctor comes our way
Over the sorrel-covered wold⁠—
Now sadly, now unearthly gay,
A little withered man, and old.

He knows by signs of secret wit
The man whose hour of death draws nigh,
And who will moan in the under pit,
And who foregather in the sky.

He sees the fairy hosting move
By heath or hollow or rushy mere,
And then his heart fills full of love,
And full his eyes of fairy cheer.

Cures he hath for cow or goat
With fairy-smitten udders dry⁠—
Cures for calves with ’plaining throat,
That sickening near their mothers lie;

And many a herb and many a spell
For hurts and ails and lover’s moan⁠—
For all save him who pining fell,
Glamoured by fairies for their own.

Now be courteous, now be kind,
Lest he may some glamour fold
Closely round us, body and mind⁠—
The little withered man, and old.

The Priest and the Fairy

Unto the heart of the woodland straying,
Where the shaking leaf with the beam was playing,

Musingly wandered the village priest.
As the summer voice of the daytime ceased,

He came to the home of the forest people
From where the old ivy crawls round the old steeple,

And under a shady oak-tree sat,
Where the moss was spread like his own doormat.

The tangled thoughts of the finished day
Fled from his brow where the hair was grey;

And as the time to darkness plodded,
He thought wise things as his grey head nodded.

How “the only good is musing mild,
And evil still is action’s child.

“With action all the world is vexed,”
He’d find for this some holy text.

He’d slept among the singing trees,
Among the murmurs of the bees,

A full hour long, when rose a feather
Out of a neighbouring bunch of heather;

And then a pointed face was seen
Beneath a pointed cap of green;

And straight before the sleeping priest
There stood a man, of men the least⁠—

Three spans high as he rose to his feet,
And his hair was as yellow as waving wheat.

Now, what has a fairy to do with a priest
Who is six feet high in his socks at least?

He drew from his cap a feather grey,
On the nose of the sleeper he made it play;

The sleeper awoke with a sudden start,
With open mouth and beating heart.

He had dreamed the cow had got within
His garden ringed with jessamine,

And many a purple gillyflower eaten,
And under her hoofs the marigolds beaten.

Then ’gan to speak that goblin rare,
Brushing back his yellow hair:

“Man of wisdom, from thy sleeping
I have roused thee; for the weeping

“Of our great queen is ever heard
Among the haunts of bee and bird.

“We buried late in a hazel dell
A fairy whom we loved full well;

“The swiftest he to dance or fly,
And his hair was as dark as a plover’s eye.

“Man of wisdom, dost thou know
Where the souls of fairies go?”

This priest looked neither to right nor left,
Nigh of his wits by fear bereft.

“Ave Marie,” muttered he
Over the beads of his rosary.

The fairies’ herald spake once more:
“Say and thrice anigh thy door

“Every summer wilt thou see
Wild bees’ honey laid for thee.”

The father dropt his rosary⁠—
“They are lost, they are lost, each one,” cried he.

And then his heart grew well-nigh dead
Because of the thing his tongue had said.

As a wreath of smoke in wind-blown flight
The fairy vanished from his sight,

And came to where his brethren stood,
Away in the heart of the antique wood;

And when they heard that tale of his
They grew so very still, I wis

Were you a fairy you’d have heard
The breathing of the smallest bird,

The beating of a lev’ret’s heart;
And then the fay queen sobbed apart,

And all the sad fay chivalry
Upraised their voices bitterly.

A woodman on his homeward way
Heard the voice of their dismay,

And said, “Yon bittern cries, in truth,
As though his days were full of ruth.

“If I were free to do as little
As dance upon the spear-grass brittle,

“Or seek where sweetest water bubbles,
Remote from all the hard earth troubles,

“And cut no wood the whole day long,
I’d glad folks’ hearts with blither song.”

The Fairy Pedant

Scene:⁠—A circle of Druidic stones.

First Fairy	Afar from our lawn and our levee, O sister of sorrowful gaze! Where the roses in scarlet are heavy And dream of the end of their days, You move in another dominion And hang o’er the historied stone: Unpruned is your beautiful pinion Who wander and whisper alone.
All	Come away while the moon’s in the woodland, We’ll dance and then feast in a dairy. Though youngest of all in our good band, You are wasting away, little fairy.
Second Fairy	Ah! cruel ones, leave me alone now While I murmur a little and ponder The history here in the stone now; Then away and away will I wander, And measure the minds of the flowers, And gaze on the meadow-mice wary, And number their days and their hours⁠—
All	You are wasting away, little fairy.
Second Fairy	O shining ones, lightly with song pass, Ah! leave me, I pray you and beg. My mother drew forth from the long grass A piece of a nightingale’s egg, And cradled me here where are sung, Of birds even, longings for aery Wild wisdoms of spirit and tongue.
All	You are wasting away, little fairy.
First Fairy	Turning away. Though tenderest roses were round you, The soul of the pitiless place With pitiless magic has bound you⁠— Ah! woe for the loss of your face, And loss of your laugh and its lightness⁠— Ah! woe for your wings and your head⁠— Ah! woe for your eyes and their brightness⁠— Ah! woe for your slippers of red.
All	Come away while the moon’s in the woodland, We’ll dance and then feast in a dairy. Though youngest of all in our good band, She is wasting away, little fairy.

She Who Dwelt Among the Sycamores

A Fancy

A little boy outside the sycamore wood
Saw on the wood’s edge gleam an ash-grey feather;
A kid, held by one soft white ear for tether,
Trotted beside him in a playful mood.
A little boy inside the sycamore wood
Followed a ringdove’s ash-grey gleam of feather.
Noon wrapt the trees in veils of violet weather,
And on tiptoe the winds a-whispering stood.
Deep in the woodland paused they, the six feet
Lapped in the lemon daffodils; a bee
In the long grass⁠—four eyes droop low⁠—a seat
Of moss, a maiden weaving. Singeth she:
“I am lone Lady Quietness, my sweet,
And on this loom I weave thy destiny.”

A Legend

A drowned city is supposed to lie under the waters of Lough Gill.

The Maker of the stars and worlds
Sat underneath the market cross,
And the old men were walking, walking,
And little boys played pitch and toss.

“The props,” said He, “of stars and worlds
Are prayers of patient men and good.”
The boys, the women, and old men,
Listening, upon their shadows stood.

A grey professor passing cried,
“How few the mind’s intemperance rule!
What shallow thoughts about deep things!
The world grows old and plays the fool.”

The mayor came, leaning his deaf ear⁠—
There was some talking of the poor⁠—
And to himself cried, “Communist!”
And hurried to the guard-house door.

The bishop came with open book,
Whispering along the sunny path;
There was some talking of man’s god,
His god of stupor and of wrath.

The bishop murmured, “Atheist!
How sinfully the wicked scoff!”
And sent the old men on their way,
And drove the boys and women off.

The place was empty now of people.
A cock came by upon his toes;
An old horse looked across a fence,
And rubbed along the rail his nose.

The Maker of the stars and worlds
To His own house did him betake,
And on that city dropped a tear,
And now that city is a lake.

Street Dancers

Singing in this London street
To the rhythm of their feet,
By a window’s feeble light
Are two ragged children bright⁠—
Larger sparrows of the town,
Nested ’mong the vapours brown.
Far away the starry mirth
Hangs o’er all the wooded earth.

If these merry ones should know,
Footing in the feeble glow,
Of a wide wood’s leafy leisure,
Would they foot so fleet a measure?
Ah no!

Maybe now in some far lane,
Dancing on the moon’s broad stain,
Watched of placid poplar trees,
Children sing in twos and threes.
Hush! hush! hush! on every lip
Lies a chubby finger-tip,
As there floats from fields afar
Clamour of the lone nightjar.

If these merry ones should know,
Footing in the feeble glow,
Other people’s mirth and pleasure,
Would they foot so fleet a measure?
Ah no!

Maybe in some isle of isles,
In the south seas’ azure miles,
Dance the savage children small,
Singing to their light footfall.
Hush! hush! hush! they pause and point
Where a shell, the seas anoint,
Dropping liquid rainbow light,
Rolls along the sea-sands white.

If these merry ones should know,
Footing in the feeble glow,
Other people’s mirth and pleasure,
Would they foot so fleet a measure?
Ah no!

Maybe now a Bedouin’s brood
Laughing goes in wildest mood,
Past the spears and palm-stems dry,
Past the camel’s dreaming eye.
Hush! hush! hush! they pause them where
Bows the Bedouin’s whitening hair⁠—
Peace of youth and peace of age,
Thoughtless joys and sorrows sage.

If these merry ones should know,
Footing in the feeble glow,
Other people’s mirth and pleasure,
Would they foot so fleet a measure?
Ah no!

Others know the healing earth,
Others know the starry mirth;
They will wrap them in the shroud,
Sorrow-worn, yet placid browed.
London streets have heritage
Blinder sorrows, harder wage⁠—
Sordid sorrows of the mart,
Sorrows sapping brain and heart.

If these merry ones should know,
Footing in the feeble glow,
All the healing earth may treasure,
Would they foot so fleet a measure?
Ah no!

Quatrains and Aphorisms

I

The child who chases lizards in the grass,
The sage who deep in central nature delves,
The preacher watching for the ill hour to pass⁠—
All these are souls who fly from their dread selves.

II

Two spirit-things a man hath for his friends⁠—
Sorrow, that gives for guerdon liberty,
And joy, the touching of whose finger lends
To lightest of all light things sanctity.

III

Long thou for nothing, neither sad nor gay;
Long thou for nothing, neither night nor day;
Not even “I long to see thy longing over,”
To the ever-longing and mournful spirit say.

IV

The ghosts went by me with their lips apart
From death’s late languor as these lines I read
On Brahma’s gateway, “They within have fed
The soul upon the ashes of the heart.”

V

This heard I where, amid the apple trees,
Wild indolence and music have no date,
“I laughed upon the lips of Sophocles,
I go as soft as folly; I am Fate.”

VI

“Around, the twitter of the lips of dust
A tossing laugh between their red abides;
With patient beauty yonder Attic bust
In the deep alcove’s dimness smiles and hides.”

VII

The heart of noon folds silence and folds sleep,
For noon and midnight from each other borrow,
And Joy, in growing deeper and more deep,
Walks in the vesture of her sister Sorrow.

When You Are Sad

When you are sad,
The mother of the stars weeps too,
And all her starlight is with sorrow mad,
And tears of fire fall gently in the dew.

When you are sad,
The mother of the wind mourns too,
And her old wind that no mirth ever had,
Wanders and wails before my heart most true

When you are sad,
The mother of the wave sighs too,
And her dim wave bids man be no more glad,
And then the whole world’s trouble weeps with you.

The Rose3 4

“Sero te amavi, pulchritudo tam antiqua et tam nova! Sero te amavi.”
S. Augustine

To Lionel Johnson

To the Rose Upon the Rood of Time

Red Rose, proud Rose, sad Rose of all my days!
Come near me, while I sing the ancient ways:
Cuchulain battling with the bitter tide;
The Druid, gray, wood-nurtured, quiet-eyed,
Who cast round Fergus dreams, and ruin untold;
And thine own sadness, whereof stars, grown old
In dancing silver sandalled on the sea,
Sing in their high and lonely melody.
Come near, that no more blinded by man’s fate,
I find under the boughs of love and hate,
In all poor foolish things that live a day,
Eternal beauty wandering on her way.

Come near, come near, come near⁠—Ah, leave me still
A little space for the rose-breath to fill!
Lest I no more hear common things that crave;
The weak worm hiding down in its small cave,
The field mouse running by me in the grass,
And heavy mortal hopes that toil and pass;
But seek alone to hear the strange things said
By God to the bright hearts of those long dead,
And learn to chaunt a tongue men do not know.
Come near; I would, before my time to go,
Sing of old Eire and the ancient ways:
Red Rose, proud Rose, sad Rose of all my days.

Fergus and the Druid

Fergus	The whole day have I followed in the rocks, And you have changed and flowed from shape to shape, First as a raven on whose ancient wings Scarcely a feather lingered, then you seemed A weasel moving on from stone to stone, And now at last you wear a human shape, A thin gray man half lost in gathering night.
Druid	What would you, king of the proud Red Branch kings?
Fergus	This would I say, most wise of living souls: Young subtle Conchubar sat close by me When I gave judgment, and his words were wise, And what to me was burden without end, To him seemed easy, so I laid the crown Upon his head to cast away my sorrow.
Druid	What would you, king of the proud Red Branch kings?
Fergus	A king and proud! and that is my despair. I feast amid my people on the hill, And pace the woods, and drive my chariot wheels In the white border of the murmuring sea; And still I feel the crown upon my head.
Druid	What would you, Fergus?
Fergus	Be no more a king But learn the dreaming wisdom that is yours.
Druid	Look on my thin gray hair and hollow cheeks And on these hands that may not lift the sword, This body trembling like a wind-blown reed. No woman’s loved me, no man sought my help.
Fergus	A king is but a foolish labourer Who wastes his blood to be another’s dream.
Druid	Take, if you must, this little bag of dreams; Unloose the cord, and they will wrap you round.
Fergus	I see my life go dripping like a river From change to change; I have been many things, A green drop in the surge, a gleam of light Upon a sword, a fir-tree on a hill, An old slave grinding at a heavy quern, A king sitting upon a chair of gold, And all these things were wonderful and great; But now I have grown nothing, knowing all, And the whole world weighs down upon my heart: Ah! Druid, Druid, how great webs of sorrow Lay hidden in the small slate-coloured thing?

Cuchulain’s Fight with the Sea

A man came slowly from the setting sun,
To Emer, raddling raiment in her dun,
And said, “I am that swineherd, whom you bid
Go watch the road between the wood and tide,
But now I have no need to watch it more.”

Then Emer cast the web upon the floor,
And raising arms all raddled with the dye;
Parted her lips with a loud sudden cry.

That swineherd stared upon her face and said:
“No man alive, no man among the dead,
Has won the gold his cars of battle bring.”

“But if your master comes home triumphing
Why are you pale and shake from foot to crown?”

Thereon he shook the more and cast him down
Upon the web-heaped floor, and cried his word:
“With him is one sweet-throated like a bird.”

“You dare me to my face,” and thereupon
She smote with raddled fist, and where her son
Herded the cattle came with stumbling feet,
And cried with angry voice, “It is not meet
To idle life away, a common herd.”

“I have long waited, mother, for that word:
But wherefore now?”

“There is a man to die;
You have the heaviest arm under the sky.”

“Whether under its daylight or the stars
My father stands amid his battle cars.”

“But you have grown to be the taller man.”

“Yet somewhere under starlight or the sun
My father stands amid his battle cars.”

“But he is old and sad with many wars.”

“I only ask what way my journey lies.
For He who made you bitter, made you wise.”

“The Red Branch camp in a great company
Between wood’s rim and the horses of the sea.
Go there, and light a camp fire at wood’s rim;
But tell your name and lineage to him
Whose blade compels, and wait till they have found
Some feating man that the same oath has bound.”

Among those feasting kings Cuchulain dwelt,
And his young sweetheart close beside him knelt,
Stared on the mournful wonder of his eyes,
Even as Spring upon the ancient skies,
And pondered on the glory of his days;
And all around the harp-string told his praise,
And Conchubar, the Red Branch king of kings,
With his own fingers touched the brazen strings.

At last Cuchulain spake, “Some man has made
His evening fire amid the leafy shade.
I have often heard him singing to and fro,
I have often heard the sweet sound of his bow,
Seek out what man he is.”

One went and came.
“He bade me let all know he gives his name
At the sword point, and waits till we have found
Some feating man that the same oath has bound.”

Cuchulain cried, “I am the only man
Of all this host so bound from childhood on.”

After short fighting in the leafy shade,
He spake to the young man, “Is there no maid
Who loves you, no white arms to wrap you round,
Or do you long for the dim sleepy ground,
That you have come and dared me to my face?”

“The dooms of men are in God’s hidden place.”

“Your head a while seemed like a woman’s head
That I loved once.”

Again the fighting sped,
But now the war rage in Cuchulain woke,
And through that new blade’s guard the old blade broke,
And pierced him.

“Speak before your breath is done.”

“Cuchulain I, mighty Cuchulain’s son.”

“I put you from your pain. I can no more.”

While day its burden on to evening bore,
With head bowed on his knees Cuchulain stayed;
Then Conchubar sent that sweet-throated maid,
And she, to win him, his grey hair caressed;
In vain her arms, in vain her soft white breast.
Then Conchubar, the subtlest of all men,
Ranking his Druids round him ten by ten,
Spake thus, “Cuchulain will dwell there and brood,
For three days more in dreadful quietude,
And then arise, and raving slay us all.
Chaunt in his ear delusions magical,
That he may fight the horses of the sea.”
The Druids took them to their mystery,
And chanted for three days.

Cuchulain stirred,
Stared on the horses of the sea, and heard
The cars of battle and his own name cried;
And fought with the invulnerable tide.

The Rose of the World

Who dreamed that beauty passes like a dream?
For these red lips, with all their mournful pride,
Mournful that no new wonder may betide,
Troy passed away in one high funeral gleam,
And Usna’s children died.

We and the labouring world are passing by:
Amid men’s souls, that waver and give place,
Like the pale waters in their wintry race,
Under the passing stars, foam of the sky,
Lives on this lonely face.

Bow down, archangels, in your dim abode:
Before you were, or any hearts to beat,
Weary and kind one lingered by His seat;
He made the world to be a grassy road
Before her wandering feet.

The Rose of Peace

If Michael, leader of God’s host
When Heaven and Hell are met,
Looked down on you from Heaven’s door-post
He would his deeds forget.

Brooding no more upon God’s wars
In his Divine homestead,
He would go weave out of the stars
A chaplet for your head.

And all folk seeing him bow down,
And white stars tell your praise,
Would come at last to God’s great town,
Led on by gentle ways;

And God would bid His warfare cease,
Saying all things were well;
And softly make a rosy peace,
A peace of Heaven with Hell.

The Rose of Battle

Rose of all Roses, Rose of all the World!
The tall thought-woven sails, that flap unfurled
Above the tide of hours, trouble the air,
And God’s bell buoyed to be the water’s care;
While hushed from fear, or loud with hope, a band
With blown, spray-dabbled hair gather at hand.
Turn if you may from battles never done,
I call, as they go by me one by one,
Danger no refuge holds, and war no peace,
For him who hears love sing and never cease,
Beside her clean-swept hearth, her quiet shade:
But gather all for whom no love hath made
A woven silence, or but came to cast
A song into the air, and singing past
To smile on the pale dawn; and gather you
Who have sought more than is in rain or dew
Or in the sun and moon, or on the earth,
Or sighs amid the wandering, starry mirth,
Or comes in laughter from the sea’s sad lips
And wage God’s battles in the long grey ships.
The sad, the lonely, the insatiable,
To these Old Night shall all her mystery tell;
God’s bell has claimed them by the little cry
Of their sad hearts, that may not live nor die.

Rose of all Roses, Rose of all the World!
You, too, have come where the dim tides are hurled
Upon the wharves of sorrow, and heard ring
The bell that calls us on; the sweet far thing.
Beauty grown sad with its eternity
Made you of us, and of the dim grey sea.
Our long ships loose thought-woven sails and wait,
For God has bid them share an equal fate;
And when at last defeated in His wars,
They have gone down under the same white stars,
We shall no longer hear the little cry
Of our sad hearts, that may not live nor die.

A Faery Song

Sung by the people of faery over Diarmuid and Grania, who lay in their bridal sleep under a Cromlech.

We who are old, old and gay,
O so old!
Thousands of years, thousands of years,
If all were told:

Give to these children, new from the world,
Silence and love;
And the long dew-dropping hours of the night,
And the stars above:

Give to these children, new from the world,
Rest far from men,
Is anything better, anything better?
Tell us it then:

Us who are old, old and gay,
O so old!
Thousands of years, thousands of years,
If all were told.

The Lake Isle of Innisfree

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.

A Cradle Song

The angels are stooping
Above your bed;
They weary of trooping
With the whimpering dead.

God’s laughing in heaven
To see you so good;
The Sailing Seven
Are gay with His mood.

I sigh that kiss you,
For I must own
That I shall miss you
When you have grown.

The Pity of Love

A pity beyond all telling
Is hid in the heart of love:
The folk who are buying and selling,
The clouds on their journey above,
The cold wet winds ever blowing,
And the shadowy hazel grove
Where mouse-grey waters are flowing,
Threaten the head that I love.

The Sorrow of Love

The brawling of a sparrow in the eaves,
The brilliant moon and all the milky sky,
And all that famous harmony of leaves,
Had blotted out man’s image and his cry.

A girl arose that had red mournful lips,
And seemed the greatness of the world in tears.
Doomed like Odysseus and the labouring ships
And proud as Priam murdered with his peers;

Arose, and on the instant clamorous eaves,
A climbing moon upon an empty sky,
And all that lamentation of the leaves,
Could but compose man’s image and his cry.

When You Are Old

When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read; and dream of the soft look
Your eyes had once, and of their shadows deep;

How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face;

And bending down beside the glowing bars
Murmur, a little sadly, how love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.

The White Birds

I would that we were, my beloved, white birds on the foam of the sea!
We tire of the flame of the meteor, before it can fade and flee;
And the flame of the blue star of twilight, hung low on the rim of the sky,
Has awaked in our hearts, my beloved, a sadness that may not die.

A weariness comes from those dreamers, dew dabbled, the lily and rose;
Ah, dream not of them, my beloved, the flame of the meteor that goes,
Or the flame of the blue star that lingers hung low in the fall of the dew:
For I would we were changed to white birds on the wandering foam: I and you!

I am haunted by numberless islands, and many a Danaan shore,
Where Time would surely forget us, and Sorrow come near us no more;
Soon far from the rose and the lily, and fret of the flames would we be,
Were we only white birds, my beloved, buoyed out on the foam of the sea!

A Dream of Death

I dreamed that one had died in a strange place
Near no accustomed hand;
And they had nailed the boards above her face,
The peasants of that land,
Wondering to lay her in that solitude,
And raised above her mound
A cross they had made out of two bits of wood,
And planted cypress round;
And left her to the indifferent stars above
Until I carved these words:
She was more beautiful than thy first love,
But now lies under boards.

The Countess Cathleen in Paradise

All the heavy days are over;
Leave the body’s coloured pride
Underneath the grass and clover,
With the feet laid side by side.

Bathed in flaming founts of duty
She’ll not ask a haughty dress;
Carry all that mournful beauty,
To the scented oaken press.

Did the kiss of Mother Mary,
Put that music in her face?
Yet she goes with footsteps wary,
Full of earth’s old timid grace.

’Mong the feet of angels seven
What a dancer glimmering!
All the heavens bow down to heaven,
Flame to flame and wing to wing.

Who Goes with Fergus

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 fears 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.

The Man Who Dreamed of Faeryland

He stood among a crowd at Drumahair;
His heart hung all upon a silken dress,
And he had known at last some tenderness,
Before earth made of him her sleepy care;
But when a man poured fish into a pile,
It seemed they raised their little silver heads,
And sang how day a Druid twilight sheds
Upon a dim, green, well-beloved isle,
Where people love beside star-laden seas;
How Time may never mar their faery vows
Under the woven roofs of quicken boughs:
The singing shook him out of his new ease.

He wandered by the sands of Lisadell;
His mind ran all on money cares and fears,
And he had known at last some prudent years
Before they heaped his grave under the hill;
But while he passed before a plashy place,
A lug-worm with its gray and muddy mouth
Sang how somewhere to north or west or south
There dwelt a gay, exulting, gentle race;
And how beneath those three times blessed skies
A Danaan fruitage makes a shower of moons,
And as it falls awakens leafy tunes:
And at that singing he was no more wise.

He mused beside the well of Scanavin,
He mused upon his mockers: without fail
His sudden vengeance were a country tale,
Now that deep earth has drunk his body in;
But one small knot-grass growing by the pool
Told where, ah, little, all-unneeded voice!
Old Silence bids a lonely folk rejoice,
And chaplet their calm brows with leafage cool,
And how, when fades the sea-strewn rose of day,
A gentle feeling wraps them like a fleece,
And all their trouble dies into its peace:
The tale drove his fine angry mood away.

He slept under the hill of Lugnagall;
And might have known at last unhaunted sleep
Under that cold and vapour-turbaned steep,
Now that old earth had taken man and all:
Were not the worms that spired about his bones
Proclaiming with a low and reedy cry,
That God had leant His hands out of the sky,
To bless that isle with honey in His tones;
That none may feel the power of squall and wave
And no one any leaf-crowned dancer miss
Until He burn up Nature with a kiss:
The man has found no comfort in the grave.

The Dedication to a Book of Stories Selected from the Irish Novelists

There was a green branch hung with many a bell
When her own people ruled this tragic Eire;
And from its murmuring greenness, calm of faery,
A Druid kindness, on all hearers fell.

It charmed away the merchant from his guile,
And turned the farmer’s memory from his cattle,
And hushed in sleep the roaring ranks of battle:
And all grew friendly for a little while.

Ah, Exiles, wandering over lands and seas,
And planning, plotting always that some morrow
May set a stone upon ancestral Sorrow?
I also bear a bell branch full of ease.

I tore it from green boughs winds tore and tossed
Until the sap of summer had grown weary!
I tore it from the barren boughs of Eire,
The country where a man can be so crossed;

Can be so battered, badgered and destroyed
That he’s a loveless man: gay bells bring laughter,
That shakes a mouldering cobweb from the rafter;
And yet the saddest chimes are best enjoyed

Gay bells or sad, they bring you memories
Of half-forgotten innocent old places:
We and our bitterness have left no traces
On Munster grass and Connemara skies.

The Lamentation of the Old Pensioner

Although I shelter from the rain
Under a broken tree
My chair was nearest to the fire
In every company.
That talked of love or politics
Ere time transfigured me.

Though lads are making pikes again
For some conspiracy,
And crazy rascals rage their fill
At human tyranny;
My contemplations are of time
That has transfigured me.

There’s not a woman turns her face
Upon a broken tree,
And yet the beauties that I loved
Are in my memory;
I spit into the face of Time
That has transfigured me.

The Ballad of Father Gilligan

The old priest Peter Gilligan
Was weary night and day;
For half his flock were in their beds,
Or under green sods lay.

Once, while he nodded on a chair,
At the moth-hour of eve,
Another poor man sent for him,
And he began to grieve.

“I have no rest, nor joy, nor peace,
For people die and die”;
And after cried he, “God forgive!
My body spake, not I!”

He knelt, and leaning on the chair
He prayed and fell asleep;
And the moth-hour went from the fields,
And stars began to peep.

They slowly into millions grew,
And leaves shook in the wind;
And God covered the world with shade,
And whispered to mankind.

Upon the time of sparrow chirp
When the moths came once more,
The old priest Peter Gilligan
Stood upright on the floor.

“Mavrone, mavrone! the man has died,
While I slept on the chair”;
He roused his horse out of its sleep,
And rode with little care.

He rode now as he never rode,
By rocky lane and fen;
The sick man’s wife opened the door:
“Father! you come again!”

“And is the poor man dead?” he cried.
“He died an hour ago,”
The old priest Peter Gilligan
In grief swayed to and fro.

“When you were gone, he turned and died
As merry as a bird.”
The old priest Peter Gilligan
He knelt him at that word.

“He who hath made the night of stars
For souls, who tire and bleed,
Sent one of His great angels down
To help me in my need.

“He who is wrapped in purple robes,
With planets in His care,
Had pity on the least of things
Asleep upon a chair.”

The Two Trees

Beloved, gaze in thine own heart,
The holy tree is growing there;
From joy the holy branches start,
And all the trembling flowers they bear,
The changing colours of its fruit
Have dowered the stars with merry light;
The surety of its hidden root
Has planted quiet in the night;
The shaking of its leafy head
Has given the waves their melody,
And made my lips and music wed,
Murmuring a wizard song for thee.
There, through bewildered branches, go
Winged Loves borne on in gentle strife,
Tossing and tossing to and fro
The flaming circle of our life.
When looking on their shaken hair,
And dreaming how they dance and dart,
Thine eyes grow full of tender care:
Beloved, gaze in thine own heart.

Gaze no more in the bitter glass
The demons, with their subtle guile,
Lift up before us when they pass,
Or only gaze a little while;
For there a fatal image grows,
That the stormy night receives,
Roots half hidden under snows,
Broken boughs and blackened leaves.
All things turn to barrenness
In the dim glass the demons hold,
The glass of outer weariness,
Made when God slept in times of old.
There, through the broken branches, go
The ravens of unresting thought;
Peering and flying to and fro,
To see men’s souls bartered and bought.
When they are heard upon the wind,
And when they shake their wings; alas!
Thy tender eyes grow all unkind:
Gaze no more in the bitter glass.

To Ireland in the Coming Times

Know, that I would accounted be
True brother of that company,
That sang to sweeten Ireland’s wrong,
Ballad and story, rann and song;
Nor be I any less of them,
Because the red-rose-bordered hem
Of her, whose history began
Before God made the angelic clan,
Trails all about the written page.
When Time began to rant and rage
The measure of her flying feet
Made Ireland’s heart begin to beat;
And Time bade all his candles flare
To light a measure here and there;
And may the thoughts of Ireland brood
Upon a measured quietude.

Nor may I less be counted one
With Davis, Mangan, Ferguson,
Because to him, who ponders well,
My rhymes more than their rhyming tell
Of things discovered in the deep,
Where only body’s laid asleep.
For the elemental creatures go
About my table to and fro,
That hurry from unmeasured mind
To rant and rage in flood and wind;
Yet he who treads in measured ways
May surely barter gaze for gaze.
Man ever journeys on with them
After the red-rose-bordered hem.
Ah, faeries, dancing under the moon,
A Druid land, a Druid tune!

While still I may, I write for you
The love I lived, the dream I knew.
From our birthday, until we die,
Is but the winking of an eye;
And we, our singing and our love,
What measurer Time has lit above,
And all benighted things that go
About my table to and fro,
Are passing on to where may be,
In truth’s consuming ecstasy
No place for love and dream at all;
For God goes by with white foot-fall.
I cast my heart into my rhymes,
That you, in the dim coming times,
May know how my heart went with them
After the red-rose-bordered hem.

Crossways5

“The stars are threshed, and the souls are threshed from the husks.”
William Blake

To A. E.

The Sad Shepherd

There was a man whom Sorrow named his friend
And he, of his high comrade Sorrow dreaming,
Went walking with slow steps along the gleaming
And humming sands, where windy surges wend:
And he called loudly to the stars to bend
From their pale thrones and comfort him, but they
Among themselves laugh on and sing alway:
And then the man whom Sorrow named his friend
Cried out, Dim sea, hear my most piteous story!
The sea swept on and cried her old cry still,
Rolling along in dreams from hill to hill;
He fled the persecution of her glory
And, in a far-off, gentle valley stopping,
Cried all his story to the dewdrops glistening,
But naught they heard, for they are always listening,
The dewdrops, for the sound of their own dropping.
And then the man whom Sorrow named his friend,
Sought once again the shore, and found a shell,
And thought, I will my heavy story tell
Till my own words, re-echoing, shall send
Their sadness through a hollow, pearly heart;
And my own tale again for me shall sing,
And my own whispering words be comforting,
And lo! my ancient burden may depart.
Then he sang softly nigh the pearly rim;
But the sad dweller by the sea-ways lone
Changed all he sang to inarticulate moan
Among her wildering whirls, forgetting him.

The Cloak, the Boat, and the Shoes

“What do you make so fair and bright?”

“I make the cloak of Sorrow:
O, lovely to see in all men’s sight
Shall be the cloak of Sorrow,
In all men’s sight.”

“What do you build with sails for flight?”

“I build a boat for Sorrow,
O, swift on the seas all day and night
Saileth the rover Sorrow,
All day and night.”

“What do you weave with wool so white?”

“I weave the shoes of Sorrow,
Soundless shall be the footfall light
In all men’s ears of Sorrow,
Sudden and light.”

Anashuya and Vijaya

A little Indian temple in the Golden Age. Around it a garden; around that the forest. Anashuya, the young priestess, kneeling within the temple.

Anashuya	Send peace on all the lands and flickering corn.⁠— O, may tranquillity walk by his elbow When wandering in the forest, if he love No other.⁠—Hear, and may the indolent flocks Be plentiful.⁠—And if he love another, May panthers end him.⁠—Hear, and load our king With wisdom hour by hour.⁠—May we two stand, When we are dead, beyond the setting suns, A little from the other shades apart, With mingling hair, and play upon one lute.
Vijaya	Entering and throwing a lily at her. Hail! hail, my Anashuya.
Anashuya	No: be still. I, priestess of this temple, offer up Prayers for the land.
Vijaya	I will wait here, Amrita.
Anashuya	By mighty Brahma’s ever rustling robe, Who is Amrita? Sorrow of all sorrows! Another fills your mind.
Vijaya	My mother’s name.
Anashuya	Sings, coming out of the temple. A sad, sad thought went by me slowly: Sigh, O you little stars! O, sigh and shake your blue apparel! The sad, sad thought has gone from me now wholly: Sing, O you little stars! O sing, and raise your rapturous carol To mighty Brahma, who has made you many as the sands, And laid you on the gates of evening with his quiet hands.
	Sits down on the steps of the temple.
	Vijaya, I have brought my evening rice; The sun has laid his chin on the gray wood, Weary, with all his poppies gathered round him.
Vijaya	The hour when Kama, full of sleepy laughter, Rises, and showers abroad his fragrant arrows, Piercing the twilight with their murmuring barbs.
Anashuya	See how the sacred old flamingoes come, Painting with shadow all the marble steps: Aged and wise, they seek their wonted perches Within the temple, devious walking, made To wander by their melancholy minds. Yon tall one eyes my supper; chase him away, Far, far away. I named him after you. He is a famous fisher; hour by hour He ruffles with his bill the minnowed streams. Ah! there he snaps my rice. I told you so. Now cuff him off. He’s off! A kiss for you, Because you saved my rice. Have you no thanks?
Vijaya	Sings. Sing you of her, O first few stars, Whom Brahma, touching with his finger, praises, for you hold The van of wandering quiet; ere you be too calm and old, Sing, turning in your cars, Sing, till you raise your hands and sigh, and from your car heads peer, With all your whirling hair, and drop many an azure tear.
Anashuya	What know the pilots of the stars of tears?
Vijaya	Their faces are all worn, and in their eyes Flashes the fire of sadness, for they see The icicles that famish all the north, Where men lie frozen in the glimmering snow; And in the flaming forests cower the lion And lioness, with all their whimpering cubs; And, ever pacing on the verge of things, The phantom, Beauty, in a mist of tears; While we alone have round us woven woods, And feel the softness of each other’s hand, Amrita, while⁠—
Anashuya	Going away from him. Ah me, you love another,
	Bursting into tears.
	And may some dreadful ill befall her quick!
Vijaya	I loved another; now I love no other. Among the mouldering of ancient woods You live, and on the village border she, With her old father the blind wood-cutter; I saw her standing in her door but now.
Anashuya	Vijaya, swear to love her never more.
Vijaya	Ay, ay.
Anashuya	Swear by the parents of the gods, Dread oath, who dwell on sacred Himalay, On the far Golden Peak; enormous shapes, Who still were old when the great sea was young; On their vast faces mystery and dreams; Their hair along the mountains rolled and filled From year to year by the unnumbered nests Of aweless birds, and round their stirless feet The joyous flocks of deer and antelope, Who never hear the unforgiving hound. Swear!
Vijaya	By the parents of the gods, I swear.
Anashuya	Sings. I have forgiven, O new star! Maybe you have not heard of us, you have come forth so newly, You hunter of the fields afar! Ah, you will know my loved one by his hunter’s arrows truly, Shoot on him shafts of quietness, that he may ever keep An inner laughter, and may kiss his hands to me in sleep. Farewell, Vijaya. Nay, no word, no word; I, priestess of this temple, offer up Prayers for the land.
	Vijaya goes.
	O Brahma, guard in sleep The merry lambs and the complacent kine, The flies below the leaves, and the young mice In the tree roots, and all the sacred flocks Of red flamingo; and my love, Vijaya; And may no restless fay with fidget finger Trouble his sleeping: give him dreams of me.

The Indian Upon God

I passed along the water’s edge below the humid trees,
My spirit rocked in evening light, the rushes round my knees,
My spirit rocked in sleep and sighs; and saw the moorfowl pace
All dripping on a grassy slope, and saw them cease to chase
Each other round in circles, and heard the eldest speak:
Who holds the world between His bill and made us strong or weak
Is an undying moorfowl, and He lives beyond the sky,
The rains are from His dripping wing, the moonbeams from His eye.
I passed a little further on and heard a lotus talk:
Who made the world and ruleth it, He hangeth on a stalk,
For I am in His image made, and all this tinkling tide
Is but a sliding drop of rain between His petals wide.
A little way within the gloom a roebuck raised his eyes
Brimful of starlight, and he said: The Stamper of the Skies,
He is a gentle roebuck; for how else, I pray, could He
Conceive a thing so sad and soft, a gentle thing like me?
I passed a little further on and heard a peacock say:
Who made the grass and made the worms and made my feathers gay,
He is a monstrous peacock, and He waveth all the night
His languid tail above us, lit with myriad spots of light.

The Indian to His Love

The island dreams under the dawn
And great boughs drop tranquillity;
The peahens dance on a smooth lawn,
A parrot sways upon a tree,
Raging at his own image in the enamelled sea.

Here we will moor our lonely ship
And wander ever with woven hands,
Murmuring softly lip to lip,
Along the grass, along the sands,
Murmuring how far away are the unquiet lands:

How we alone of mortals are
Hid under quiet bows apart,
While our love grows an Indian star,
A meteor of the burning heart,
One with the tide that gleams, the wings that gleam and dart,

The heavy boughs, the burnished dove
That moans and sighs a hundred days:
How when we die our shades will rove,
When eve has hushed the feathered ways,
With vapoury footsole among the water’s drowsy blaze.

The Falling of the Leaves

Autumn is over the long leaves that love us,
And over the mice in the barley sheaves;
Yellow the leaves of the rowan above us,
And yellow the wet wild-strawberry leaves.

The hour of the waning of love has beset us,
And weary and worn are our sad souls now;
Let us part, ere the season of passion forget us,
With a kiss and a tear on thy drooping brow.

Ephemera

“Your eyes that once were never weary of mine
Are bowed in sorrow under their trembling lids,
Because our love is waning.”

And then she:
“Although our love is waning, let us stand
By the lone border of the lake once more,
Together in that hour of gentleness
When the poor tired child, Passion, falls asleep:
How far away the stars seem, and how far
Is our first kiss, and ah, how old my heart!”

Pensive they paced along the faded leaves,
While slowly he whose hand held hers replied:
“Passion has often worn our wandering hearts.”

The woods were round them, and the yellow leaves
Fell like faint meteors in the gloom, and once
A rabbit old and lame limped down the path;
Autumn was over him: and now they stood
On the lone border of the lake once more:
Turning, he saw that she had thrust dead leaves
Gathered in silence, dewy as her eyes,
In bosom and hair. “Ah, do not mourn,” he said,
“That we are tired, for other loves await us;
Hate on and love through unrepining hours.
Before us lies eternity; our souls
Are love, and a continual farewell.”

The Madness of King Goll

I sat on cushioned otter skin:
My word was law from Ith to Emen,
And shook at Invar Amargin
The hearts of the world-troubling seamen,
And drove tumult and war away
From girl and boy and man and beast;
The fields grew fatter day by day,
The wild fowl of the air increased;
And every ancient Ollave said,
While he bent down his fading head,
“He drives away the Northern cold.”
They will not hush, the leaves a-flutter round me, the beech leaves old.

I sat and mused and drank sweet wine;
A herdsman came from inland valleys,
Crying, the pirates drove his swine
To fill their dark-beaked hollow galleys.
I called my battle-breaking men,
And my loud brazen battle-cars
From rolling vale and rivery glen;
And under the blinking of the stars
Fell on the pirates by the deep,
And hurled them in the gulf of sleep:
These hands won many a torque of gold.
They will not hush, the leaves a-flutter round me, the beech leaves old.

But slowly, as I shouting slew
And trampled in the bubbling mire,
In my most secret spirit grew
A whirling and a wandering fire:
I stood: keen stars above me shone,
Around me shone keen eyes of men:
I laughed aloud and hurried on
By rocky shore and rushy fen;
I laughed because birds fluttered by,
And starlight gleamed, and clouds flew high,
And rushes waved and waters rolled.
They will not hush, the leaves a-flutter round me, the beech leaves old.

And now I wander in the woods
When summer gluts the golden bees,
Or in autumnal solitudes
Arise the leopard-coloured trees,
Or when along the wintry strands
The cormorants shiver on their rocks;
I wander on, and wave my hands,
And sing, and shake my heavy locks.
The grey wolf knows me; by one ear
I lead along the woodland deer;
The hares run by me growing bold.
They will not hush, the leaves a-flutter round me, the beech leaves old.

I came upon a little town,
That slumbered in the harvest moon,
And passed a-tiptoe up and down,
Murmuring, to a fitful tune,
How I have followed, night and day,
A tramping of tremendous feet,
And saw where this old tympan lay,
Deserted on a doorway seat,
And bore it to the woods with me;
Of some unhuman misery
Our married voices wildly trolled.
They will not hush, the leaves a-flutter round me, the beech leaves old.

I sang how, when day’s toil is done,
Orchil shakes out her long dark hair
That hides away the dying sun
And sheds faint odours through the air:
When my hand passed from wire to wire
It quenched, with sound like falling dew,
The whirling and the wandering fire;
But lift a mournful ulalu,
For the kind wires are torn and still,
And I must wander wood and hill
Through summer’s heat and winter’s cold.
They will not hush, the leaves a-flutter round me, the beech leaves old.

The Stolen Child

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 berries,
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 grey 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
And chase the frothy bubbles,
While the world is full of troubles
And is 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 tear
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,
From a world more full of weeping than he can understand.

To an Isle in the Water

Shy one, shy one,
Shy one of my heart,
She moves in the firelight
Pensively apart.

She carries in the dishes,
And lays them in a row.
To an isle in the water
With her would I go.

She carries in the candles
And lights the curtained room,
Shy in the doorway
And shy in the gloom;

And shy as a rabbit,
Helpful and shy.
To an isle in the water
With her would I fly.

Down by the Salley Gardens

Down by the salley gardens my love and I did meet;
She passed the salley gardens with little snow-white feet.
She bid me take love easy, as the leaves grow on the tree;
But I, being young and foolish, with her would not agree.

In a field by the river my love and I did stand,
And on my leaning shoulder she laid her snow-white hand.
She bid me take life easy, as the grass grows on the weirs;
But I was young and foolish, and now am full of tears.

The Meditation of the Old Fisherman

You waves, though you dance by my feet like children at play,
Though you glow and you glance, though you purr and you dart;
In the Junes that were warmer than these are, the waves were more gay,
When I was a boy with never a crack in my heart.

The herring are not in the tides as they were of old;
My sorrow! for many a creak gave the creel in the cart
That carried the take to Sligo town to be sold,
When I was a boy with never a crack in my heart.

And ah, you proud maiden, you are not so fair when his oar
Is heard on the water, as they were, the proud and apart,
Who paced in the eve by the nets on the pebbly shore,
When I was a boy with never a crack in my heart.

The Ballad of Father O’Hart6

Good Father John O’Hart
In penal days rode out
To a shoneen who had free lands
And his own snipe and trout.

In trust took he John’s lands;
Sleiveens were all his race;
And he gave them as dowers to his daughters,
And they married beyond their place.

But Father John went up,
And Father John went down;
And he wore small holes in his shoes,
And he wore large holes in his gown.

All loved him, only the shoneen,
Whom the devils have by the hair,
From the wives, and the cats, and the children,
To the birds in the white of the air.

The birds, for he opened their cages
As he went up and down;
And he said with a smile, “Have peace now”;
And he went his way with a frown.

But if when any one died
Came keeners hoarser than rooks,
He bade them give over their keening;
For he was a man of books.

And these were the works of John,
When weeping score by score,
People came into Coloony;
For he’d died at ninety-four.

There was no human keening;
The birds from Knocknarea
And the world round Knocknashee
Came keening in that day.

The young birds and old birds
Came flying, heavy and sad;
Keening in from Tiraragh,
Keening from Ballinafad;

Keening from Inishmurray,
Nor stayed for bite or sup;
This way were all reproved
Who dig old customs up.

The Ballad of Moll Magee

Come round me, little childer;
There, don’t fling stones at me
Because I mutter as I go;
But pity Moll Magee.

My man was a poor fisher
With shore lines in the say;
My work was saltin’ herrings
The whole of the long day.

And sometimes from the saltin’ shed,
I scarce could drag my feet
Under the blessed moonlight,
Along the pebbly street.

I’d always been but weakly,
And my baby was just born;
A neighbour minded her by day
I minded her till morn.

I lay upon my baby;
Ye little childer dear,
I looked on my cold baby
When the morn grew frosty and clear.

A weary woman sleeps so hard!
My man grew red and pale,
And gave me money, and bade me go
To my own place, Kinsale.

He drove me out and shut the door,
And gave his curse to me;
I went away in silence,
No neighbour could I see.

The windows and the doors were shut,
One star shone faint and green;
The little straws were turnin’ round
Across the bare boreen.

I went away in silence:
Beyond old Martin’s byre
I saw a kindly neighbour
Blowin’ her mornin’ fire.

She drew from me my story⁠—
My money’s all used up,
And still, with pityin’, scornin’ eye,
She gives me bite and sup.

She says my man will surely come,
And fetch me home agin;
But always, as I’m movin’ round,
Without doors or within,

Pilin’ the wood or pilin’ the turf,
Or goin’ to the well,
I’m thinkin’ of my baby
And keenin’ to mysel’.

And sometimes I am sure she knows
When, openin’ wide His door,
God lights the stars, His candles,
And looks upon the poor.

So now, ye little childer,
Ye won’t fling stones at me;
But gather with your shinin’ looks
And pity Moll Magee.

The Ballad of the Foxhunter7

“Lay me in a cushioned chair;
Carry me, ye four,
With cushions here and cushions there,
To see the world once more.

“To stable and to kennel go;
Bring what’s there to bring;
Lead my Lollard to and fro,
Or gently in a ring.

“Put the chair upon the grass:
Bring Rody and his hounds,
That I may contented pass
From these earthly bounds.”

His eyelids droop, his head falls low,
His old eyes cloud with dreams;
The sun upon all things that grow
Falls in sleepy streams.

Brown Lollard treads upon the lawn,
And to the armchair goes,
And now the old man’s dreams are gone,
He smooths the long brown nose.

And now moves many a pleasant tongue
Upon his wasted hands,
For leading aged hounds and young
The huntsman near him stands.

“Huntsman, Rody, blow the horn,
And make the hills reply.”
The huntsman loosens on the morn
A gay wandering cry.

Fire is in the old man’s eyes,
His fingers move and sway,
And when the wandering music dies
They hear him feebly say,

“Huntsman, Rody, blow the horn,
And make the hills reply.”
“I cannot blow upon my horn,
I can but weep and sigh.”

Servants round his cushioned place
Are with new sorrow wrung;
And hounds are gazing on his face,
Both aged hounds and young.

One blind hound only lies apart
On the sun-smitten grass;
He holds deep commune with his heart:
The moments pass and pass;

The blind hound with a mournful din
Lifts slow his wintry head;
The servants bear the body in;
The hounds wail for the dead.

To Some I Have Talked with by the Fire

While I wrought out these fitful Danaan rhymes,
My heart would brim with dreams about the times
When we bent down above the fading coals;
And talked of the dark folk, who live in souls
Of passionate men, like bats in the dead trees;
And of the wayward twilight companies,
Who sigh with mingled sorrow and content,
Because their blossoming dreams have never bent
Under the fruit of evil and of good:
And of the embattled flaming multitude
Who rise, wing above wing, flame above flame,
And, like a storm, cry the Ineffable Name,
And with the clashing of their sword blades make
A rapturous music, till the morning break,
And the white hush end all, but the loud beat
Of their long wings, the flash of their white feet.

A Song of the Rosy Cross

He who measures gain and loss,
When he gave to thee the Rose,
Gave to me alone the Cross;
Where the blood-red blossom blows
In a wood of dew and moss,
There thy wandering pathway goes,
Mine where waters brood and toss;
Yet one joy have I, hid close,
He who measures gain and loss,
When he gave to thee the Rose,
Gave to me alone the Cross.

The Friends That Have It I Do Wrong

The friends that have it I do wrong
When ever I remake a song,
Should know what issue is at stake:
It is myself that I remake.

Accursed Who Brings to Light of Day

Accursed who brings to light of day
The writings I have cast away!
But blessed he that stirs them not
And lets the kind worm take the lot!

The Well and the Tree

“The Man that I praise,”
Cries out the empty well,
“Lives all his days
Where a hand on the bell
Can call the milch-cows
To the comfortable door of his house.
Who but an idiot would praise
Dry stones in a well?”

“The Man that I praise,”
Cries out the leafless tree,
“Has married and stays
By an old hearth, and he
On naught has set store
But children and dogs on the floor.
Who but an idiot would praise
A withered tree?”

The Wind Among the Reeds8 9

The Hosting of the Sidhe10

The host is riding from Knocknarea
And over the grave of Clooth-na-Bare;
Caolte tossing his burning hair
And Niamh calling Away, come away:
Empty your heart of its mortal dream.
The winds awaken, the leaves whirl round,
Our cheeks are pale, our hair is unbound,
Our breasts are heaving, our eyes are agleam,
Our arms are waving, our lips are apart;
And if any gaze on our rushing band,
We come between him and the deed of his hand,
We come between him and the hope of his heart.
The host is rushing ’twixt night and day,
And where is there hope or deed as fair?
Caolte tossing his burning hair,
And Niamh calling Away, come away.

The Everlasting Voices

O sweet everlasting Voices, be still;
Go to the guards of the heavenly fold
And bid them wander obeying your will
Flame under flame, till Time be no more;
Have you not heard that our hearts are old,
That you call in birds, in wind on the hill,
In shaken boughs, in tide on the shore?
O sweet everlasting Voices, be still.

The Moods

Time drops in decay,
Like a candle burnt out,
And the mountains and woods
Have their day, have their day;
What one in the rout
Of the fire-born moods
Has fallen away?

The Lover Tells of the Rose in His Heart

All things uncomely and broken, all things worn out and old,
The cry of a child by the roadway, the creak of a lumbering cart,
The heavy steps of the ploughman, splashing the wintry mould,
Are wronging your image that blossoms a rose in the deeps of my heart.

The wrong of unshapely things is a wrong too great to be told;
I hunger to build them anew and sit on a green knoll apart,
With the earth and the sky and the water, remade, like a casket of gold
For my dreams of your image that blossoms a rose in the deeps of my heart.

The Host of the Air11

O’Driscoll drove with a song
The wild duck and the drake
From the tall and the tufted reeds
Of the drear Hart Lake.

And he saw how the reeds grew dark
At the coming of night tide,
And dreamed of the long dim hair
Of Bridget his bride.

He heard while he sang and dreamed
A piper piping away,
And never was piping so sad,
And never was piping so gay.

And he saw young men and young girls
Who danced on a level place
And Bridget his bride among them,
With a sad and a gay face.

The dancers crowded about him,
And many a sweet thing said,
And a young man brought him red wine
And a young girl white bread.

But Bridget drew him by the sleeve,
Away from the merry bands,
To old men playing at cards
With a twinkling of ancient hands.

The bread and the wine had a doom,
For these were the host of the air;
He sat and played in a dream
Of her long dim hair.

He played with the merry old men
And thought not of evil chance,
Until one bore Bridget his bride
Away from the merry dance.

He bore her away in his arms,
The handsomest young man there,
And his neck and his breast and his arms
Were drowned in her long dim hair.

O’Driscoll scattered the cards
And out of his dream awoke:
Old men and young men and young girls
Were gone like a drifting smoke;

But he heard high up in the air
A piper piping away,
And never was piping so sad,
And never was piping so gay.

The Fisherman

Although you hide in the ebb and flow
Of the pale tide when the moon has set,
The people of coming days will know
About the casting out of my net,
And how you have leaped times out of mind
Over the little silver cords,
And think that you were hard and unkind,
And blame you with many bitter words.

A Cradle Song

The Danaan children laugh, in cradles of wrought gold,
And clap their hands together, and half close their eyes,
For they will ride the North when the ger-eagle flies,
With heavy whitening wings, and a heart fallen cold:
I kiss my wailing child and press it to my breast,
And hear the narrow graves calling my child and me.
Desolate winds that cry over the wandering sea;
Desolate winds that hover in the flaming West;
Desolate winds that beat the doors of Heaven, and beat
The doors of Hell and blow there many a whimpering ghost;
O heart the winds have shaken; the unappeasable host
Is comelier than candles at Mother Mary’s feet.

Into the Twilight

Out-worn heart, in a time out-worn,
Come clear of the nets of wrong and right;
Laugh, heart, again in the grey twilight,
Sigh, heart, again in the dew of the morn.

Your mother Eire is always young,
Dew ever shining and twilight grey;
Though hope fall from you and love decay,
Burning in fires of a slanderous tongue.

Come, heart, where hill is heaped upon hill:
For there the mystical brotherhood
Of sun and moon and hollow and wood
And river and stream work out their will;

And God stands winding His lonely horn,
And time and the world are ever in flight;
And love is less kind than the grey twilight
And hope is less dear than the dew of the morn.

The Song of Wandering Aengus12

I went out to the hazel wood,
Because a fire was in my head,
And cut and peeled a hazel wand,
And hooked a berry to a thread;
And when white moths were on the wing,
And moth-like stars were flickering out,
I dropped the berry in a stream
And caught a little silver trout.

When I had laid it on the floor
I went to blow the fire a-flame,
But something rustled on the floor,
And someone called me by my name:
It had become a glimmering girl
With apple blossom in her hair
Who called me by my name and ran
And faded through the brightening air.

Though I am old with wandering
Through hollow lands and hilly lands,
I will find out where she has gone,
And kiss her lips and take her hands;
And walk among long dappled grass,
And pluck till time and times are done
The silver apples of the moon,
The golden apples of the sun.

The Song of the Old Mother

I rise in the dawn, and I kneel and blow
Till the seed of the fire flicker and glow;
And then I must scrub and bake and sweep
Till stars are beginning to blink and peep;
And the young lie long and dream in their bed
Of the matching of ribbons for bosom and head,
And their day goes over in idleness,
And they sigh if the wind but lift a tress:
While I must work because I am old,
And the seed of the fire gets feeble and cold.

The Heart of the Woman

O what to me the little room
That was brimmed up with prayer and rest;
He bade me out into the gloom,
And my breast lies upon his breast.

O what to me my mother’s care,
The house where I was safe and warm;
The shadowy blossom of my hair
Will hide us from the bitter storm.

O hiding hair and dewy eyes,
I am no more with life and death,
My heart upon his warm heart lies,
My breath is mixed into his breath.

The Lover Mourns for the Loss of Love

Pale brows, still hands and dim hair,
I had a beautiful friend
And dreamed that the old despair
Would end in love in the end:
She looked in my heart one day
And saw your image was there;
She has gone weeping away.

He Mourns for the Change That Has Come Upon Him and His Beloved and Longs for the End of the World13

Do you not hear me calling, white deer with no horns!
I have been changed to a hound with one red ear;
I have been in the Path of Stones and the Wood of Thorns,
For somebody hid hatred and hope and desire and fear
Under my feet that they follow you night and day.
A man with a hazel wand came without sound;
He changed me suddenly; I was looking another way;
And now my calling is but the calling of a hound;
And Time and Birth and Change are hurrying by.
I would that the Boar without bristles had come from the West
And had rooted the sun and moon and stars out of the sky
And lay in the darkness, grunting, and turning to his rest.

He Bids His Beloved Be at Peace

I hear the Shadowy Horses, their long manes a-shake,
Their hoofs heavy with tumult, their eyes glimmering white;
The North unfolds above them clinging, creeping night,
The East her hidden joy before the morning break,
The West weeps in pale dew and sighs passing away,
The South is pouring down roses of crimson fire:
O vanity of Sleep, Hope, Dream, endless Desire,
The Horses of Disaster plunge in the heavy clay:
Beloved, let your eyes half close, and your heart beat
Over my heart, and your hair fall over my breast,
Drowning love’s lonely hour in deep twilight of rest,
And hiding their tossing manes and their tumultuous feet.

He Reproves the Curlew

O curlew, cry no more in the air,
Or only to the waters in the West;
Because your crying brings to my mind
Passion-dimmed eyes and long heavy hair
That was shaken out over my breast:
There is enough evil in the crying of wind.

He Remembers Forgotten Beauty

When my arms wrap you round I press
My heart upon the loveliness
That has long faded from the world;
The jewelled crowns that kings have hurled
In shadowy pools, when armies fled;
The love-tales wrought with silken thread
By dreaming ladies upon cloth
That has made fat the murderous moth;
The roses that of old time were
Woven by ladies in their hair,
The dew-cold lilies ladies bore
Through many a sacred corridor
Where such grey clouds of incense rose
That only the gods’ eyes did not close:
For that pale breast and lingering hand
Come from a more dream-heavy land,
A more dream-heavy hour than this;
And when you sigh from kiss to kiss
I hear white Beauty sighing, too,
For hours when all must fade like dew,
All but the flames, and deep on deep,
Throne over throne where in half sleep,
Their swords upon their iron knees,
Brood her high lonely mysteries.

A Poet to His Beloved

I bring you with reverent hands
The books of my numberless dreams;
White woman that passion has worn
As the tide wears the dove-grey sands,
And with heart more old than the horn
That is brimmed from the pale fire of time:
White woman with numberless dreams
I bring you my passionate rhyme.

He Gives His Beloved Certain Rhymes

Fasten your hair with a golden pin,
And bind up every wandering tress;
I bade my heart build these poor rhymes:
It worked at them, day out, day in,
Building a sorrowful loveliness
Out of the battles of old times.

You need but lift a pearl-pale hand,
And bind up your long hair and sigh;
And all men’s hearts must burn and beat;
And candle-like foam on the dim sand,
And stars climbing the dew-dropping sky,
Live but to light your passing feet.

To His Heart, Bidding It Have No Fear

Be you still, be you still, trembling heart;
Remember the wisdom out of the old days:
Him who trembles before the flame and the flood,
And the winds that blow through the starry ways,
Let the starry winds and the flame and the flood
Cover over and hide, for he has no part
With the lonely, majestical multitude.

The Cap and Bells14

The jester walked in the garden:
The garden had fallen still;
He bade his soul rise upward
And stand on her window-sill.

It rose in a straight blue garment,
When owls began to call:
It had grown wise-tongued by thinking
Of a quiet and light footfall;

But the young queen would not listen;
She rose in her pale night gown;
She drew in the heavy casement
And pushed the latches down.

He bade his heart go to her,
When the owls called out no more;
In a red and quivering garment
It sang to her through the door.

It had grown sweet-tongued by dreaming,
Of a flutter of flower-like hair;
But she took up her fan from the table
And waved it off on the air.

“I have cap and bells,” he pondered,
“I will send them to her and die”;
And when the morning whitened
He left them where she went by.

She laid them upon her bosom,
Under a cloud of her hair,
And her red lips sang them a love-song:
Till stars grew out of the air.

She opened her door and her window,
And the heart and the soul came through,
To her right hand came the red one,
To her left hand came the blue.

They set up a noise like crickets,
A chattering wise and sweet,
And her hair was a folded flower
And the quiet of love in her feet.

The Valley of the Black Pig15

The dews drop slowly and dreams gather: unknown spears
Suddenly hurtle before my dream-awakened eyes,
And then the clash of fallen horsemen and the cries
Of unknown perishing armies beat about my ears.
We who still labour by the cromlec on the shore,
The grey cairn on the hill, when day sinks drowned in dew,
Being weary of the world’s empires, bow down to you,
Master of the still stars and of the flaming door.

The Lover Asks Forgiveness Because of His Many Moods

If this importunate heart trouble your peace
With words lighter than air,
Or hopes that in mere hoping flicker and cease;
Crumple the rose in your hair;
And cover your lips with odorous twilight and say,
“O Hearts of wind-blown flame!
O Winds, elder than changing of night and day,
That murmuring and longing came,
From marble cities loud with tabors of old
In dove-grey faery lands;
From battle banners, fold upon purple fold,
Queens wrought with glimmering hands;
That saw young Niamh hover with love-lorn face
Above the wandering tide;
And lingered in the hidden desolate place,
Where the last Phoenix died
And wrapped the flames above his holy head;
And still murmur and long:
O Piteous Hearts, changing till change be dead
In a tumultuous song”:
And cover the pale blossoms of your breast
With your dim heavy hair,
And trouble with a sigh for all things longing for rest
The odorous twilight there.

He Tells of a Valley Full of Lovers

I dreamed that I stood in a valley, and amid sighs,
For happy lovers passed two by two where I stood;
And I dreamed my lost love came stealthily out of the wood
With her cloud-pale eyelids falling on dream-dimmed eyes:
I cried in my dream, O women, bid the young men lay
Their heads on your knees, and drown their eyes with your hair,
Or remembering hers they will find no other face fair
Till all the valleys of the world have been withered away.

He Tells of the Perfect Beauty

O cloud-pale eyelids, dream-dimmed eyes,
The poets labouring all their days
To build a perfect beauty in rhyme
Are overthrown by a woman’s gaze
And by the unlabouring brood of the skies:
And therefore my heart will bow, when dew
Is dropping sleep, until God burn time,
Before the unlabouring stars and you.

He Hears the Cry of the Sedge

I wander by the edge
Of this desolate lake
Where wind cries in the sedge:
Until the axle break
That keeps the stars in their round,
And hands hurl in the deep
The banners of East and West,
And the girdle of light is unbound,
Your breast will not lie by the breast
Of your beloved in sleep.

He Thinks of Those Who Have Spoken Evil of His Beloved

Half close your eyelids, loosen your hair,
And dream about the great and their pride;
They have spoken against you everywhere,
But weigh this song with the great and their pride;
I made it out of a mouthful of air,
Their children’s children shall say they have lied.

The Blessed

Cumhal called out, bending his head,
Till Dathi came and stood,
With a blink in his eyes at the cave mouth,
Between the wind and the wood.

And Cumhal said, bending his knees,
“I have come by the windy way
To gather the half of your blessedness
And learn to pray when you pray.

“I can bring you salmon out of the streams
And heron out of the skies.”
But Dathi folded his hands and smiled
With the secrets of God in his eyes.

And Cumhal saw like a drifting smoke
All manner of blessed souls,
Women and children, young men with books,
And old men with croziers and stoles.

“Praise God and God’s mother,” Dathi said,
“For God and God’s mother have sent
The blessedest souls that walk in the world
To fill your heart with content.”

“And which is the blessedest,” Cumhal said,
“Where all are comely and good?
Is it these that with golden thuribles
Are singing about the wood?”

“My eyes are blinking,” Dathi said,
“With the secrets of God half blind,
But I can see where the wind goes
And follow the way of the wind;

“And blessedness goes where the wind goes,
And when it is gone we are dead;
I see the blessedest soul in the world
And he nods a drunken head.

“O blessedness comes in the night and the day
And whither the wise heart knows;
And one has seen in the redness of wine
The Incorruptible Rose,

“That drowsily drops faint leaves on him
And the sweetness of desire,
While time and the world are ebbing away
In twilights of dew and of fire.”

The Secret Rose16

Far off, most secret, and inviolate Rose,
Enfold me in my hour of hours; where those
Who sought thee in the Holy Sepulchre,
Or in the wine vat, dwell beyond the stir
And tumult of defeated dreams; and deep
Among pale eyelids, heavy with the sleep
Men have named beauty. Thy great leaves enfold
The ancient beards, the helms of ruby and gold
Of the crowned Magi; and the king whose eyes
Saw the Pierced Hands and Rood of elder rise
In Druid vapour and make the torches dim;
Till vain frenzy awoke and he died; and him
Who met Fand walking among flaming dew
By a grey shore where the wind never blew,
And lost the world and Emer for a kiss;
And him who drove the gods out of their liss,
And till a hundred morns had flowered red,
Feasted and wept the barrows of his dead;
And the proud dreaming king who flung the crown
And sorrow away, and calling bard and clown
Dwelt among wine-stained wanderers in deep woods;
And him who sold tillage, and house, and goods,
And sought through lands and islands numberless years,
Until he found with laughter and with tears,
A woman, of so shining loveliness,
That men threshed corn at midnight by a tress,
A little stolen tress. I, too, await
The hour of thy great wind of love and hate.
When shall the stars be blown about the sky,
Like the sparks blown out of a smithy, and die?
Surely thine hour has come, thy great wind blows,
Far off, most secret, and inviolate Rose?

Maid Quiet

Where has Maid Quiet gone to,
Nodding her russet hood?
The winds that awakened the stars
Are blowing through my blood.
O how could I be so calm
When she rose up to depart?
Now words that called up the lightning
Are hurtling through my heart.

The Travail of Passion

When the flaming lute-thronged angelic door is wide;
When an immortal passion breathes in mortal clay;
Our hearts endure the scourge, the plaited thorns, the way
Crowded with bitter faces, the wounds in palm and side,
The vinegar-heavy sponge, the flowers by Kedron stream;
We will bend down and loosen our hair over you,
That it may drop faint perfume, and be heavy with dew,
Lilies of death-pale hope, roses of passionate dream.

A Lover Speaks to the Hearers of His Songs in Coming Days

O women, kneeling by your altar rails long hence,
When songs I wove for my beloved hide the prayer,
And smoke from this dead heart drifts through the violet air
And covers away the smoke of myrrh and frankincense;
Bend down and pray for all that sin I wove in song,
Till the Attorney for Lost Souls cry her sweet cry,
And call to my beloved and me: “No longer fly
Amid the hovering, piteous, penitential throng.”

The Poet Pleads with the Elemental Powers17

The Powers whose name and shape no living creature knows
Have pulled the Immortal Rose;
And though the Seven Lights bowed in their dance and wept,
The Polar Dragon slept,
His heavy rings uncoiled from glimmering deep to deep:
When will he wake from sleep?

Great Powers of falling wave and wind and windy fire,
With your harmonious choir
Encircle her I love and sing her into peace,
That my old care may cease;
Unfold your flaming wings and cover out of sight
The nets of day and night.

Dim Powers of drowsy thought, let her no longer be
Like the pale cup of the sea,
When winds have gathered and sun and moon burned dim
Above its cloudy rim;
But let a gentle silence wrought with music flow
Whither her footsteps go.

He Wishes His Beloved Were Dead

Were you but lying cold and dead,
And lights were paling out of the West,
You would come hither, and bend your head,
And I would lay my head on your breast;
And you would murmur tender words,
Forgiving me, because you were dead:
Nor would you rise and hasten away,
Though you have the will of the wild birds,
But know your hair was bound and wound
About the stars and moon and sun:
O would, beloved, that you lay
Under the dock-leaves in the ground,
While lights were paling one by one.

He Wishes for the Cloths of Heaven

Had I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.

He Thinks of His Past Greatness When a Part of the Constellation of Heaven

I have drunk ale from the Country of the Young
And weep because I know all things now:
I have been a hazel tree and they hung
The Pilot Star and the Crooked Plough
Among my leaves in times out of mind:
I became a rush that horses tread:
I became a man, a hater of the wind,
Knowing one, out of all things, alone, that his head
Would not lie on the breast or his lips on the hair
Of the woman that he loves, until he dies.
O beast of the wilderness, bird of the air,
Must I endure your amorous cries?

The Fiddler of Dooney

When I play on my fiddle in Dooney,
Folk dance like a wave of the sea;
My cousin is priest in Kilvarnet,
My brother in Mocharabuiee.

I passed my brother and cousin:
They read in their books of prayer;
I read in my book of songs
I bought at the Sligo fair.

When we come at the end of time,
To Peter sitting in state,
He will smile on the three old spirits,
But call me first through the gate;

For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance:

And when the folk there spy me,
They will all come up to me,
With “Here is the fiddler of Dooney!”
And dance like a wave of the sea.

The Old Age of Queen Maeve

Maeve the great queen was pacing to and fro,
Between the walls covered with beaten bronze,
In her high house at Cruachan; the long hearth,
Flickering with ash and hazel, but half showed
Where the tired horse-boys lay upon the rushes,
Or on the benches underneath the walls,
In comfortable sleep; all living slept
But that great queen, who more than half the night
Had paced from door to fire and fire to door.
Though now in her old age, in her young age
She had been beautiful in that old way
That’s all but gone; for the proud heart is gone,
And the fool heart of the counting-house fears all
But soft beauty and indolent desire.
She could have called over the rim of the world
Whatever woman’s lover had hit her fancy,
And yet had been great bodied and great limbed,
Fashioned to be the mother of strong children;
And she’d had lucky eyes and a high heart,
And wisdom that caught fire like the dried flax,
At need, and made her beautiful and fierce,
Sudden and laughing. O unquiet heart,
Why do you praise another, praising her,
As if there were no tale but your own tale
Worth knitting to a measure of sweet sound?
Have I not bid you tell of that great queen
Who has been buried some two thousand years?

When night was at its deepest, a wild goose
Cried from the porter’s lodge, and with long clamour
Shook the ale horns and shields upon their hooks;
But the horse-boys slept on, as though some power
Had filled the house with Druid heaviness;
And wondering who of the many-changing Sidhe
Had come as in the old times to counsel her,
Maeve walked, yet with slow footfall, being old,
To that small chamber by the outer gate.
The porter slept, although he sat upright
With still and stony limbs and open eyes.
Maeve waited, and when that ear-piercing noise
Broke from his parted lips and broke again,
She laid a hand on either of his shoulders,
And shook him wide awake, and bid him say
Who of the wandering many-changing ones
Had troubled his sleep. But all he had to say
Was that, the air being heavy and the dogs
More still than they had been for a good month,
He had fallen asleep, and, though he had dreamed nothing,
He could remember when he had had fine dreams.
It was before the time of the great war
Over the White-Horned Bull, and the Brown Bull.

She turned away; he turned again to sleep
That no god troubled now, and, wondering
What matters were afoot among the Sidhe,
Maeve walked through that great hall, and with a sigh
Lifted the curtain of her sleeping-room,
Remembering that she too had seemed divine
To many thousand eyes, and to her own
One that the generations had long waited
That work too difficult for mortal hands
Might be accomplished. Bunching the curtain up
She saw her husband Ailell sleeping there,
And thought of days when he’d had a straight body,
And of that famous Fergus, Nessa’s husband,
Who had been the lover of her middle life.

Suddenly Ailell spoke out of his sleep,
And not with his own voice or a man’s voice,
But with the burning, live, unshaken voice,
Of those that it may be can never age.
He said, “High Queen of Cruachan and Magh Ai,
A king of the Great Plain would speak with you.”
And with glad voice Maeve answered him, “What king
Of the far wandering shadows has come to me?
As in the old days when they would come and go
About my threshold to counsel and to help.”
The parted lips replied, “I seek your help,
For I am Aengus, and I am crossed in love.”
“How may a mortal whose life gutters out
Help them that wander with hand clasping hand,
Their haughty images that cannot wither,
For all their beauty’s like a hollow dream,
Mirrored in streams that neither hail nor rain
Nor the cold North has troubled?” He replied:
“I am from those rivers and I bid you call
The children of the Maines out of sleep,
And set them digging under Bual’s hill.
We shadows, while they uproot his earthy house,
Will overthrow his shadows and carry off
Caer, his blue-eyed daughter that I love.
I helped your fathers when they built these walls,
And I would have your help in my great need,
Queen of high Cruachan.” “I obey your will
With speedy feet and a most thankful heart:
For you have been, O Aengus of the birds,
Our giver of good counsel and good luck.”
And with a groan, as if the mortal breath
Could but awaken sadly upon lips
That happier breath had moved, her husband turned
Face downward, tossing in a troubled sleep;
But Maeve, and not with a slow feeble foot,
Came to the threshold of the painted house,
Where her grandchildren slept, and cried aloud,
Until the pillared dark began to stir
With shouting and the clang of unhooked arms.
She told them of the many-changing ones;
And all that night, and all through the next day
To middle night, they dug into the hill.
At middle night great cats with silver claws,
Bodies of shadow and blind eyes like pearls,
Came up out of the hole, and red-eared hounds
With long white bodies came out of the air
Suddenly, and ran at them and harried them.

The Maines’ children dropped their spades, and stood
With quaking joints and terror-strucken faces,
Till Maeve called out: “These are but common men.
The Maines’ children have not dropped their spades,
Because Earth, crazy for its broken power,
Casts up a show and the winds answer it
With holy shadows.” Her high heart was glad,
And when the uproar ran along the grass
She followed with light footfall in the midst,
Till it died out where an old thorn tree stood.

Friend of these many years, you too had stood
With equal courage in that whirling rout;
For you, although you’ve not her wandering heart,
Have all that greatness, and not hers alone,
For there is no high story about queens
In any ancient book but tells of you;
And when I’ve heard how they grew old and died,
Or fell into unhappiness, I’ve said:
“She will grow old and die, and she has wept!”
And when I’d write it out anew, the words,
Half crazy with the thought, She too has wept!
Outrun the measure. I’d tell of that great queen
Who stood amid a silence by the thorn
Until two lovers came out of the air
With bodies made out of soft fire. The one,
About whose face birds wagged their fiery wings,
Said: “Aengus and his sweetheart give their thanks
To Maeve and to Maeve’s household, owing all
In owing them the bride-bed that gives peace.”
Then Maeve: “O Aengus, Master of all lovers,
A thousand years ago you held high talk
With the first kings of many-pillared Cruachan.
O when will you grow weary?” They had vanished;
But out of the dark air over her head there came
A murmur of soft words and meeting lips.

Baile and Aillinn

Argument. Baile and Aillinn were lovers, but Aengus, the Master of Love, wishing them to be happy in his own land among the dead, told to each a story of the other’s death, so that their hearts were broken and they died.

I hardly hear the curlew cry,
Nor the grey rush when the wind is high,
Before my thoughts begin to run
On the heir of Ulad, Buan’s son,
Baile, who had the honey mouth;
And that mild woman of the south,
Aillinn, who was King Lugaid’s heir.
Their love was never drowned in care
Of this or that thing, nor grew cold
Because their bodies had grown old.
Being forbid to marry on earth,
They blossomed to immortal mirth.

About the time when Christ was born,
When the long wars for the White Horn
And the Brown Bull had not yet come,
Young Baile Honey-Mouth, whom some
Called rather Baile Little-Land,
Rode out of Emain with a band
Of harpers and young men; and they
Imagined, as they struck the way
To many-pastured Muirthemne,
That all things fell out happily,
And there, for all that fools had said,
Baile and Aillinn would be wed.

They found an old man running there:
He had ragged long grass-coloured hair;
He had knees that stuck out of his hose;
He had puddle water in his shoes;
He had half a cloak to keep him dry,
Although he had a squirrel’s eye.

O wandering birds and rushy beds,
You put such folly in our heads
With all this crying in the wind;
No common love is to our mind,
And our poor Kate or Nan is less
Than any whose unhappiness
Awoke the harp-strings long ago.
Yet they that know all things but know
That all life had to give us is
A child’s laughter, a woman’s kiss.
Who was it put so great a scorn
In the grey reeds that night and morn
Are trodden and broken by the herds,
And in the light bodies of birds
That north wind tumbles to and fro
And pinches among hail and snow?

That runner said: “I am from the south;
I run to Baile Honey-Mouth,
To tell him how the girl Aillinn
Rode from the country of her kin,
And old and young men rode with her:
For all that country had been astir
If anybody half as fair
Had chosen a husband anywhere
But where it could see her every day.
When they had ridden a little way
An old man caught the horse’s head
With: ‘You must home again, and wed
With somebody in your own land.’
A young man cried and kissed her hand,
‘O lady, wed with one of us’;
And when no face grew piteous
For any gentle thing she spake,
She fell and died of the heart-break.”

Because a lover’s heart’s worn out,
Being tumbled and blown about
By its own blind imagining,
And will believe that anything
That is bad enough to be true, is true,
Baile’s heart was broken in two;
And he being laid upon green boughs,
Was carried to the goodly house
Where the Hound of Ulad sat before
The brazen pillars of his door,
His face bowed low to weep the end
Of the harper’s daughter and her friend.
For although years had passed away
He always wept them on that day,
For on that day they had been betrayed;
And now that Honey-Mouth is laid
Under a cairn of sleepy stone
Before his eyes, he has tears for none,
Although he is carrying stone, but two
For whom the cairn’s but heaped anew.

We hold because our memory is
So full of that thing and of this
That out of sight is out of mind.
But the grey rush under the wind
And the grey bird with crooked bill
Have such long memories, that they still
Remember Deirdre and her man;
And when we walk with Kate or Nan
About the windy water side,
Our heart can hear the voices chide.
How could we be so soon content,
Who know the way that Naoise went?
And they have news of Deirdre’s eyes,
Who being lovely was so wise⁠—
Ah! wise, my heart knows well how wise.

Now had that old gaunt crafty one,
Gathering his cloak about him, run
Where Aillinn rode with waiting maids,
Who amid leafy lights and shades
Dreamed of the hands that would unlace
Their bodices in some dim place
When they had come to the marriage bed;
And harpers, pacing with high head
As though their music were enough
To make the savage heart of love
Grow gentle without sorrowing,
Imagining and pondering
Heaven knows what calamity;

“Another’s hurried off,” cried he,
“From heat and cold and wind and wave;
They have heaped the stones above his grave
In Muirthemne, and over it
In changeless Ogham letters writ⁠—
Baile, that was of Rury’s seed.
But the gods long ago decreed
No waiting maid should ever spread
Baile and Aillinn’s marriage bed,
For they should clip and clip again
Where wild bees hive on the Great Plain.
Therefore it is but little news
That put this hurry in my shoes.”

Then seeing that he scarce had spoke
Before her love-worn heart had broke,
He ran and laughed until he came
To that high hill the herdsmen name
The Hill Seat of Leighin, because
Some god or king had made the laws
That held the land together there,
In old times among the clouds of the air.

That old man climbed; the day grew dim;
Two swans came flying up to him,
Linked by a gold chain each to each,
And with low murmuring laughing speech
Alighted on the windy grass.
They knew him: his changed body was
Tall, proud and ruddy, and light wings
Were hovering over the harp-strings
That Etain, Midhir’s wife, had wove
In the hid place, being crazed by love.

What shall I call them? fish that swim,
Scale rubbing scale where light is dim
By a broad water-lily leaf;
Or mice in the one wheaten sheaf
Forgotten at the threshing place;
Or birds lost in the one clear space
Of morning light in a dim sky;
Or, it may be, the eyelids of one eye,
Or the door pillars of one house,
Or two sweet blossoming apple-boughs
That have one shadow on the ground;
Or the two strings that made one sound
Where that wise harper’s finger ran.
For this young girl and this young man
Have happiness without an end,
Because they have made so good a friend.

They know all wonders, for they pass
The towery gates of Gorias,
And Findrias and Falias,
And long-forgotten Murias,
Among the giant kings whose hoard,
Cauldron and spear and stone and sword,
Was robbed before earth gave the wheat;
Wandering from broken street to street
They come where some huge watcher is,
And tremble with their love and kiss.

They know undying things, for they
Wander where earth withers away,
Though nothing troubles the great streams
But light from the pale stars, and gleams
From the holy orchards, where there is none
But fruit that is of precious stone,
Or apples of the sun and moon.

What were our praise to them? They eat
Quiet’s wild heart, like daily meat;
Who when night thickens are afloat
On dappled skins in a glass boat,
Far out under a windless sky;
While over them birds of Aengus fly,
And over the tiller and the prow,
And waving white wings to and fro
Awaken wanderings of light air
To stir their coverlet and their hair.

And poets found, old writers say,
A yew tree where his body lay;
But a wild apple hid the grass
With its sweet blossom where hers was;
And being in good heart, because
A better time had come again
After the deaths of many men,
And that long fighting at the ford,
They wrote on tablets of thin board,
Made of the apple and the yew,
All the love stories that they knew.

Let rush and bird cry out their fill
Of the harper’s daughter if they will,
Beloved, I am not afraid of her.
She is not wiser nor lovelier,
And you are more high of heart than she,
For all her wanderings over-sea;
But I’d have bird and rush forget
Those other two; for never yet
Has lover lived, but longed to wive
Like them that are no more alive.

In the Seven Woods

I have heard the pigeons of the Seven Woods
Make their faint thunder, and the garden bees
Hum in the lime tree flowers; and put away
The unavailing outcries and the old bitterness
That empty the heart. I have forgot awhile
Tara uprooted, and new commonness
Upon the throne and crying about the streets
And hanging its paper flowers from post to post,
Because it is alone of all things happy.
I am contented for I know that Quiet
Wanders laughing and eating her wild heart
Among pigeons and bees, while that Great Archer,
Who but awaits His hour to shoot, still hangs
A cloudy quiver over Parc-na-Lee.

The Arrow

I thought of your beauty, and this arrow,
Made out of a wild thought, is in my marrow.
There’s no man may look upon her, no man;
As when newly grown to be a woman,
Tall and noble but with face and bosom
Delicate in colour as apple blossom.
This beauty’s kinder, yet for a reason
I could weep that the old is out of season.

The Folly of Being Comforted

One that is ever kind said yesterday:
“Your well-beloved’s hair has threads of grey,
And little shadows come about her eyes;
Time can but make it easier to be wise
Though now it seem impossible, and so
Patience is all that you have need of.” No,
I have not a crumb of comfort, not a grain,
Time can but make her beauty over again:
Because of that great nobleness of hers
The fire that stirs about her, when she stirs
Burns but more clearly. O she had not these ways,
When all the wild summer was in her gaze.
O heart! O heart! if she’d but turn her head,
You’d know the folly of being comforted.

Old Memory

O thought, fly to her when the end of day
Awakens an old memory, and say,
“Your strength, that is so lofty and fierce and kind,
It might call up a new age, calling to mind
The queens that were imagined long ago,
Is but half yours: he kneaded in the dough
Through the long years of youth, and who would have thought
It all, and more than it all, would come to naught,
And that dear words meant nothing?” But enough,
For when we have blamed the wind we can blame love;
Or, if there needs be more, be nothing said
That would be harsh for children that have strayed.

Never Give All the Heart

Never give all the heart, for love
Will hardly seem worth thinking of
To passionate women if it seem
Certain, and they never dream
That it fades out from kiss to kiss;
For everything that’s lovely is
But a brief dreamy kind delight.
O never give the heart outright,
For they, for all smooth lips can say,
Have given their hearts up to the play.
And who could play it well enough
If deaf and dumb and blind with love?
He that made this knows all the cost,
For he gave all his heart and lost.

The Withering of the Boughs

I cried when the moon was murmuring to the birds:
“Let peewit call and curlew cry where they will,
I long for your merry and tender and pitiful words,
For the roads are unending, and there is no place to my mind.”
The honey-pale moon lay low on the sleepy hill,
And I fell asleep upon lonely Echtge of streams.
No boughs have withered because of the wintry wind;
The boughs have withered because I have told them my dreams.

I know of the leafy paths that the witches take,
Who come with their crowns of pearl and their spindles of wool,
And their secret smile, out of the depths of the lake;
I know where a dim moon drifts, where the Danaan kind
Wind and unwind their dances when the light grows cool
On the island lawns, their feet where the pale foam gleams.
No boughs have withered because of the wintry wind;
The boughs have withered because I have told them my dreams.

I know of the sleepy country, where swans fly round
Coupled with golden chains, and sing as they fly.
A king and a queen are wandering there, and the sound
Has made them so happy and hopeless, so deaf and so blind
With wisdom, they wander till all the years have gone by;
I know, and the curlew and peewit on Echtge of streams.
No boughs have withered because of the wintry wind;
The boughs have withered because I have told them my dreams.

Adam’s Curse

We sat together at one summer’s end,
That beautiful mild woman, your close friend,
And you and I, and talked of poetry.

I said: “A line will take us hours maybe;
Yet if it does not seem a moment’s thought,
Our stitching and unstitching has been naught.
Better go down upon your marrow bones
And scrub a kitchen pavement, or break stones
Like an old pauper, in all kinds of weather;
For to articulate sweet sounds together
Is to work harder than all these, and yet
Be thought an idler by the noisy set
Of bankers, schoolmasters, and clergymen
The martyrs call the world.”

And thereupon
That beautiful mild woman for whose sake
There’s many a one shall find out all heartache
On finding that her voice is sweet and low
Replied: “To be born woman is to know,
Although they do not talk of it at school⁠—
That we must labour to be beautiful.”

I said: “It’s certain there is no fine thing
Since Adam’s fall but needs much labouring.
There have been lovers who thought love should be
So much compounded of high courtesy
That they would sigh and quote with learned looks
Precedents out of beautiful old books;
Yet now it seems an idle trade enough.”

We sat grown quiet at the name of love;
We saw the last embers of daylight die,
And in the trembling blue-green of the sky
A moon, worn as if it had been a shell
Washed by time’s waters as they rose and fell
About the stars and broke in days and years.

I had a thought for no one’s but your ears;
That you were beautiful, and that I strove
To love you in the old high way of love;
That it had all seemed happy, and yet we’d grown
As weary hearted as that hollow moon.

The Old Men Admirings Themselves in the Water

I heard the old, old men say,
“Everything alters,
And one by one we drop away.”
They had hands like claws, and their knees
Were twisted like the old thorn trees
By the waters.
I heard the old, old men say,
“All that’s beautiful drifts away
Like the waters.”

Under the Moon

I have no happiness in dreaming of Brycelinde,
Nor Avalon the grass-green hollow, nor Joyous Isle,
Where one found Lancelot crazed and hid him for a while;
Nor Ulad, when Naoise had thrown a sail upon the wind;
Nor lands that seem too dim to be burdens on the heart:
Land-under-Wave, where out of the moon’s light and the sun’s
Seven old sisters wind the threads of the long-lived ones,
Land-of-the-Tower, where Aengus has thrown the gates apart,
And Wood-of-Wonders, where one kills an ox at dawn,
To find it when night falls laid on a golden bier.
Therein are many queens like Branwen and Guinivere;
And Niamh and Laban and Fand, who could change to an otter or fawn,
And the wood-woman, whose lover was changed to a blue-eyed hawk;
And whether I go in my dreams by woodland, or dun, or shore,
Or on the unpeopled waves with kings to pull at the oar,
I hear the harp-string praise them, or hear their mournful talk.

Because of something told under the famished horn
Of the hunter’s moon, that hung between the night and the day,
To dream of women whose beauty was folded in dismay,
Even in an old story, is a burden not to be borne.

The Ragged Wood

O hurry where by water among the trees,
The delicate steeping stag and his lady sigh
When they have but looked upon their images,
Would none had ever loved but you and I!

Or have you heard that sliding silver-shoed,
Pale silver-proud queen-woman of the sky,
When the sun looked out of his golden hood:
O that none ever loved but you and I!

O hurry to the ragged wood, for there
I will drive all those lovers out and cry⁠—
O my share of the world, O yellow hair,
No one has ever loved but you and I!

O Do Not Love Too Long

Sweetheart, do not love too long:
I loved long and long,
And grew to be out of fashion
Like an old song.

All through the years of our youth
Neither could have known
Their own thought from the other’s,
We were so much at one.

But, O in a minute she changed⁠—
O do not love too long,
Or you will grow out of fashion
Like an old song.

The Players Ask for a Blessing on the Psalteries and Themselves

Three voices together	Hurry to bless the hands that play, The mouths that speak, the notes and strings, O masters of the glittering town! O! lay the shrilly trumpet down, Though drunken with the flags that sway Over the ramparts and the towers, And with the waving of your wings.
First voice	Maybe they linger by the way. One gathers up his purple gown; One leans and mutters by the wall⁠— He dreads the weight of mortal hours.
Second voice	O no, O no! they hurry down Like plovers that have heard the call.
Third voice	O kinsmen of the Three in One, O kinsmen bless the hands that play. The notes they waken shall live on When all this heavy history’s done; Our hands, our hands must ebb away.
Three voices together	The proud and careless notes live on, But bless our hands that ebb away.

Introductory Poems from “The Shadowy Waters”

The Shadowy Waters

I walked among the seven woods of Coole,
Shan-walla, where a willow-bordered pond
Gathers the wild duck from the winter dawn;
Shady Kyle-dortha; sunnier Kyle-na-gno,
Where many hundred squirrels are as happy
As though they had been hidden by green boughs,
Where old age cannot find them; Pairc-na-lea,
Where hazel and ash and privet blind the paths;
Dim Pairc-na-carraig, where the wild bees fling
Their sudden fragrances on the green air;
Dim Pairc-na-tarav, where enchanted eyes
Have seen immortal, mild, proud shadows walk;
Dim Inchy wood, that hides badger and fox
And marten-cat, and borders that old wood
Wise Biddy Early called the wicked wood:
Seven odours, seven murmurs, seven woods.
I had not eyes like those enchanted eyes,
Yet dreamed that beings happier than men
Moved round me in the shadows, and at night
My dreams were cloven by voices and by fires;
And the images I have woven in this story
Of Forgael and Dectora and the empty waters
Moved round me in the voices and the fires,
And more I may not write of, for they that cleave
The waters of sleep can make a chattering tongue
Heavy like stone, their wisdom being half silence.
How shall I name you, immortal, mild, proud shadows?
I only know that all we know comes from you,
And that you come from Eden on flying feet.
Is Eden far away, or do you hide
From human thought, as hares and mice and coneys
That run before the reaping-hook and lie
In the last ridge of the barley? Do our wood
And winds and ponds cover more quiet woods,
More shining winds, more star-glimmering ponds?
Is Eden out of time and out of space?
And do you gather about us when pale light
Shining on water and fallen among leaves,
And winds blowing from flowers, and whirr of feathers
And the green quiet, have uplifted the heart?

I have made this poem for you, that men may read it
Before they read of Forgael and Dectora,
As men in the old times, before the harps began,
Poured out wine for the high invisible ones.

The Harp of Aengus

Edain came out of Midher’s hill, and lay
Beside young Aengus in his tower of glass,
Where time is drowned in odour-laden winds
And druid moons, and murmuring of boughs,
And sleepy boughs, and boughs where apples made
Of opal and ruby and pale chrysolite
Awake unsleeping fires; and wove seven strings,
Sweet with all music, out of his long hair,
Because her hands had been made wild by love.
When Midher’s wife had changed her to a fly,
He made a harp with druid apple wood
That she among her winds might know he wept;
And from that hour he has watched over none
But faithful lovers.

From The Green Helmet and Other Poems

His Dream

I swayed upon the gaudy stern
The butt end of a steering oar,
And everywhere that I could turn
A crowd upon a shore.

And though I would have hushed the crowd
There was no mother’s son but said,
“What is the figure in a shroud
Upon a gaudy bed?”

And after running at the brim
Cried out upon that thing beneath,
—It had such dignity of limb⁠—
By the sweet name of Death.

Though I’d my finger on my lip,
What could I but take up the song?
And fish and crowd and gaudy ship
Cried out the whole night long,

Crying amid the glittering sea,
Naming it with ecstatic breath,
Because it had such dignity
By the sweet name of Death.

A Woman Homer Sung

If any man drew near
When I was young,
I thought, “He holds her dear,”
And shook with hate and fear.
But oh, ’twas bitter wrong
If he could pass her by
With an indifferent eye.

Whereon I wrote and wrought,
And now, being grey,
I dream that I have brought
To such a pitch my thought
That coming time can say,
“He shadowed in a glass
What thing her body was.”

For she had fiery blood
When I was young,
And trod so sweetly proud
As ’twere upon a cloud,
A woman Homer sung,
That life and letters seem
But an heroic dream.

The Consolation

I had this thought awhile ago,
“My darling cannot understand
What I have done, or what would do
In this blind bitter land.”

And I grew weary of the sun
Until my thoughts cleared up again,
Remembering that the best I have done
Was done to make it plain;

That every year I have cried, “At length
My darling understands it all,
Because I have come into my strength,
And words obey my call”;

That had she done so who can say
What would have shaken from the sieve?
I might have thrown poor words away
And been content to live.

No Second Troy

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?

Reconciliation

Some may have blamed you that you took away
The verses that could move them on the day
When, the ears being deafened, the sight of the eyes blind
With lightning you went from me, and I could find
Nothing to make a song about but kings,
Helmets, and swords, and half-forgotten things
That were like memories of you⁠—but now
We’ll out, for the world lives as long ago;
And while we’re in our laughing, weeping fit,
Hurl helmets, crowns, and swords into the pit.
But, dear, cling close to me; since you were gone,
My barren thoughts have chilled me to the bone.

King and No King

“Would it were anything but merely voice!”
The No King cried who after that was King,
Because he had not heard of anything
That balanced with a word is more than noise;
Yet Old Romance being kind, let him prevail
Somewhere or somehow that I have forgot,
Though he’d but cannon⁠—Whereas we that had thought
To have lit upon as clean and sweet a tale
Have been defeated by that pledge you gave
In momentary anger long ago;
And I that have not your faith, how shall I know
That in the blinding light beyond the grave
We’ll find so good a thing as that we have lost?
The hourly kindness, the day’s common speech,
The habitual content of each with each
When neither soul nor body has been crossed.

Peace

Ah, that Time could touch a form
That could show what Homer’s age
Bred to be a hero’s wage.
“Were not all her life but storm,
Would not painters paint a form
Of such noble lines,” I said,
“Such a delicate high head,
All that sternness amid charm,
All that sweetness amid strength?”
Ah, but peace that comes at length,
Came when Time had touched her form.

Against Unworthy Praise

O heart, be at peace, because
Nor knave nor dolt can break
What’s not for their applause,
Being for a woman’s sake.
Enough if the work has seemed,
So did she your strength renew,
A dream that a lion had dreamed
Till the wilderness cried aloud,
A secret between you two,
Between the proud and the proud.

What, still you would have their praise!
But here’s a haughtier text,
The labyrinth of her days
That her own strangeness perplexed;
And how what her dreaming gave
Earned slander, ingratitude,
From self-same dolt and knave;
Aye, and worse wrong than these.
Yet she, singing upon her road,
Half lion, half child, is at peace.

The Fascination of What’s Difficult

The fascination of what’s difficult
Has dried the sap out of my veins, and rent
Spontaneous joy and natural content
Out of my heart. There’s something ails our colt
That must, as if it had not holy blood,
Nor on an Olympus leaped from cloud to cloud,
Shiver under the lash, strain, sweat and jolt
As though it dragged road metal. My curse on plays
That have to be set up in fifty ways,
On the day’s war with every knave and dolt,
Theatre business, management of men.
I swear before the dawn comes round again
I’ll find the stable and pull out the bolt.

A Drinking Song

Wine comes in at the mouth
And love comes in at the eye;
That’s all we shall know for truth
Before we grow old and die.
I lift the glass to my mouth,
I look at you, and I sigh.

The Coming of Wisdom with Time

Though leaves are many, the root is one;
Through all the lying days of my youth
I swayed my leaves and flowers in the sun;
Now I may wither into the truth.

On Hearing That the Students of Our New University Have Joined the Agitation Against Immoral Literature

Where, where but here have Pride and Truth,
That long to give themselves for wage,
To shake their wicked sides at youth
Restraining reckless middle-age.

To a Poet, Who Would Have Me Praise Certain Bad Poets, Imitators of His and Mine

You say, as I have often given tongue
In praise of what another’s said or sung,
’Twere politic to do the like by these;
But was there ever dog that praised his fleas?

The Mask

“Put off that mask of burning gold
With emerald eyes.”
“O no, my dear, you make so bold
To find if hearts be wild and wise,
And yet not cold.”

“I would but find what’s there to find,
Love or deceit.”
“It was the mask engaged your mind,
And after set your heart to beat,
Not what’s behind.”

“But lest you are my enemy,
I must enquire.”
“O no, my dear, let all that be,
What matter, so there is but fire
In you, in me?”

Upon a House Shaken by the Land Agitation

How should the world be luckier if this house,
Where passion and precision have been one
Time out of mind, became too ruinous
To breed the lidless eye that loves the sun?
And the sweet laughing eagle thoughts that grow
Where wings have memory of wings, and all
That comes of the best knit to the best? Although
Mean roof-trees were the sturdier for its fall,
How should their luck run high enough to reach
The gifts that govern men, and after these
To gradual Time’s last gift, a written speech
Wrought of high laughter, loveliness and ease?

At the Abbey Theatre

Imitated from Ronsard

Dear Craoibhin Aoibhin, look into our case.
When we are high and airy hundreds say
That if we hold that flight they’ll leave the place,
While those same hundreds mock another day
Because we have made our art of common things,
So bitterly, you’d dream they longed to look
All their lives through into some drift of wings.
You’ve dandled them and fed them from the book
And know them to the bone; impart to us⁠—
We’ll keep the secret⁠—a new trick to please.
Is there a bridle for this Proteus
That turns and changes like his draughty seas?
Or is there none, most popular of men,
But when they mock us that we mock again?

These Are the Clouds

These are the clouds about the fallen sun,
The majesty that shuts his burning eye:
The weak lay hand on what the strong has done,
Till that be tumbled that was lifted high
And discord follow upon unison,
And all things at one common level lie.
And therefore, friend, if your great race were run
And these things came, so much the more thereby
Have you made greatness your companion,
Although it be for children that you sigh:
These are the clouds about the fallen sun,
The majesty that shuts his burning eye.

At Galway Races

There where the course is,
Delight makes all of the one mind,
The riders upon the galloping horses,
The crowd that closes in behind:
We, too, had good attendance once,
Hearers and hearteners of the work;
Aye, horsemen for companions,
Before the merchant and the clerk
Breathed on the world with timid breath.
Sing on: sometime, and at some new moon,
We’ll learn that sleeping is not death,
Hearing the whole earth change its tune,
Its flesh being wild, and it again
Crying aloud as the race course is,
And we find hearteners among men
That ride upon horses.

A Friend’s Illness

Sickness brought me this
Thought, in that scale of his:
Why should I be dismayed
Though flame had burned the whole
World, as it were a coal,
Now I have seen it weighed
Against a soul?

All Things Can Tempt Me

All things can tempt me from this craft of verse:
One time it was a woman’s face, or worse⁠—
The seeming needs of my fool-driven land;
Now nothing but comes readier to the hand
Than this accustomed toil. When I was young,
I had not given a penny for a song
Did not the poet sing it with such airs
That one believed he had a sword upstairs;
Yet would be now, could I but have my wish,
Colder and dumber and deafer than a fish.

The Young Man’s Song

I whispered, “I am too young.”
And then, “I am old enough”;
Wherefore I threw a penny
To find out if I might love.
“Go and love, go and love, young man,
If the lady be young and fair.”
Ah, penny, brown penny, brown penny,
I am looped in the loops of her hair.

Oh, love is the crooked thing,
There is nobody wise enough
To find out all that is in it,
For he would be thinking of love
Till the stars had run away,
And the shadows eaten the moon.
Ah, penny, brown penny, brown penny,
One cannot begin it too soon.

Responsibilities

“In dreams begins responsibility.”
Old Play

“How am I fallen from myself, for a long time now
I have not seen the Prince of Chang in my dreams.”
Khong-fou-tseu

Introductory Rhymes

Pardon, old fathers, if you still remain
Somewhere in ear-shot for the story’s end,
Old Dublin merchant “free of ten and four”18
Or trading out of Galway into Spain;
And country scholar, Robert Emmet’s friend,
A hundred-year-old memory to the poor;
Traders or soldiers who have left me blood
That has not passed through any huckster’s loin,
Pardon, and you that did not weigh the cost,
Old Butlers when you took to horse and stood
Beside the brackish waters of the Boyne
Till your bad master blenched and all was lost;
You merchant skipper that leaped overboard
After a ragged hat in Biscay Bay,
You most of all, silent and fierce old man
Because you were the spectacle that stirred
My fancy, and set my boyish lips to say
“Only the wasteful virtues earn the sun”;
Pardon that for a barren passion’s sake,
Although I have come close on forty-nine
I have no child, I have nothing but a book,
Nothing but that to prove your blood and mine.

The Grey Rock

Poets with whom I learned my trade,
Companions of the Cheshire Cheese,
Here’s an old story I’ve re-made,
Imagining ’twould better please
Your ears than stories now in fashion,
Though you may think I waste my breath
Pretending that there can be passion
That has more life in it than death,
And though at bottling of your wine
The bow-legged Goban had no say;
The moral’s yours because it’s mine.

When cups went round at close of day⁠—
Is not that how good stories run?⁠—
The gods were sitting at the board
In their great house at Slievenamon.
They sang a drowsy song, or snored,
For all were full of wine and meat.
The smoky torches made a glare
On metal Goban ’d hammered at,
On old deep silver rolling there
Or on some still unemptied cup
That he, when frenzy stirred his thews,
Had hammered out on mountain top
To hold the sacred stuff he brews
That only gods may buy of him.

Now from the juice that made them wise
All those had lifted up the dim
Imaginations of their eyes,
For one that was like woman made
Before their sleepy eyelids ran
And trembling with her passion said,
“Come out and dig for a dead man,
Who’s burrowing somewhere in the ground,
And mock him to his face and then
Hollo him on with horse and hound,
For he is the worst of all dead men.”

We should be dazed and terror-struck,
If we but saw in dreams that room,
Those wine-drenched eyes, and curse our luck
That emptied all our days to come.
I knew a woman none could please,
Because she dreamed when but a child
Of men and women made like these;
And after, when her blood ran wild,
Had ravelled her own story out,
And said, “In two or in three years
I need must marry some poor lout,”
And having said it burst in tears.

Since, tavern comrades, you have died,
Maybe your images have stood,
Mere bone and muscle thrown aside,
Before that roomful or as good.
You had to face your ends when young⁠—
’Twas wine or women, or some curse⁠—
But never made a poorer song
That you might have a heavier purse,
Nor gave loud service to a cause
That you might have a troop of friends.
You kept the Muses’ sterner laws,
And unrepenting faced your ends,
And therefore earned the right⁠—and yet
Dowson and Johnson most I praise⁠—
To troop with those the world’s forgot,
And copy their proud steady gaze.

“The Danish troop was driven out
Between the dawn and dusk,” she said;
“Although the event was long in doubt,
Although the King of Ireland’s dead
And half the kings, before sundown
All was accomplished. When this day
Murrough, the King of Ireland’s son,
Foot after foot was giving way,
He and his best troops back to back
Had perished there, but the Danes ran,
Stricken with panic from the attack,
The shouting of an unseen man;
And being thankful Murrough found,
Led by a footsole dipped in blood
That had made prints upon the ground,
Where by old thorn trees that man stood;
And though when he gazed here and there,
He had but gazed on thorn trees, spoke,
‘Who is the friend that seems but air
And yet could give so fine a stroke?’
Thereon a young man met his eye,
Who said, ‘Because she held me in
Her love, and would not have me die,
Rock-nurtured Aoife took a pin,
And pushing it into my shirt,
Promised that for a pin’s sake,
No man should see to do me hurt;
But there it’s gone; I will not take
The fortune that had been my shame
Seeing, King’s son, what wounds you have.’
’Twas roundly spoke, but when night came
He had betrayed me to his grave,
For he and the King’s son were dead.
I’d promised him two hundred years,
And when for all I’d done or said⁠—
And these immortal eyes shed tears⁠—
He claimed his country’s need was most,
I’d save his life, yet for the sake
Of a new friend he has turned a ghost.
What does he care if my heart break?
I call for spade and horse and hound
That we may harry him.” Thereon
She cast herself upon the ground
And rent her clothes and made her moan:
“Why are they faithless when their might
Is from the holy shades that rove
The grey rock and the windy light?
Why should the faithfullest heart most love
The bitter sweetness of false faces?
Why must the lasting love what passes,
Why are the gods by men betrayed!”

But thereon every god stood up
With a slow smile and without sound,
And stretching forth his arm and cup
To where she moaned upon the ground,
Suddenly drenched her to the skin;
And she with Goban’s wine adrip,
No more remembering what had been,
Stared at the gods with laughing lip.

I have kept my faith, though faith was tried,
To that rock-born, rock-wandering foot,
And the world’s altered since you died,
And I am in no good repute
With the loud host before the sea,
That think sword strokes were better meant
Than lover’s music⁠—let that be,
So that the wandering foot’s content.

The Two Kings

King Eochaid came at sundown to a wood
Westward of Tara. Hurrying to his queen
He had out-ridden his war-wasted men
That with empounded cattle trod the mire;
And where beech trees had mixed a pale green light
With the ground-ivy’s blue, he saw a stag
Whiter than curds, its eyes the tint of the sea.
Because it stood upon his path and seemed
More hands in height than any stag in the world
He sat with tightened rein and loosened mouth
Upon his trembling horse, then drove the spur;
But the stag stooped and ran at him, and passed,
Rending the horse’s flank. King Eochaid reeled
Then drew his sword to hold its levelled point
Against the stag. When horn and steel were met
The horn resounded as though it had been silver,
A sweet, miraculous, terrifying sound.
Horn locked in sword, they tugged and struggled there
As though a stag and unicorn were met
In Africa on Mountain of the Moon,
Until at last the double horns, drawn backward,
Butted below the single and so pierced
The entrails of the horse. Dropping his sword
King Eochaid seized the horns in his strong hands
And stared into the sea-green eye, and so
Hither and thither to and fro they trod
Till all the place was beaten into mire.
The strong thigh and the agile thigh were met,
The hands that gathered up the might of the world,
And hoof and horn that had sucked in their speed
Amid the elaborate wilderness of the air.
Through bush they plunged and over ivied root,
And where the stone struck fire, while in the leaves
A squirrel whinnied and a bird screamed out;
But when at last he forced those sinewy flanks
Against a beech bole, he threw down the beast
And knelt above it with drawn knife. On the instant
It vanished like a shadow, and a cry
So mournful that it seemed the cry of one
Who had lost some unimaginable treasure
Wandered between the blue and the green leaf
And climbed into the air, crumbling away,
Till all had seemed a shadow or a vision
But for the trodden mire, the pool of blood,
The disembowelled horse. King Eochaid ran,
Toward peopled Tara, nor stood to draw his breath
Until he came before the painted wall,
The posts of polished yew, circled with bronze,
Of the great door; but though the hanging lamps
Showed their faint light through the unshuttered windows,
Nor door, nor mouth, nor slipper made a noise,
Nor on the ancient beaten paths, that wound
From well-side or from plough-land, was there noise;
And there had been no sound of living thing
Before him or behind, but that far-off
On the horizon edge bellowed the herds.
Knowing that silence brings no good to kings,
And mocks returning victory, he passed
Between the pillars with a beating heart
And saw where in the midst of the great hall
Pale-faced, alone upon a bench, Edain
Sat upright with a sword before her feet.
Her hands on either side had gripped the bench,
Her eyes were cold and steady, her lips tight.
Some passion had made her stone. Hearing a foot
She started and then knew whose foot it was;
But when he thought to take her in his arms
She motioned him afar, and rose and spoke:
“I have sent among the fields or to the woods
The fighting men and servants of this house,
For I would have your judgment upon one
Who is self-accused. If she be innocent
She would not look in any known man’s face
Till judgment has been given, and if guilty,
Will never look again on known man’s face.”
And at these words he paled, as she had paled,
Knowing that he should find upon her lips
The meaning of that monstrous day. Then she:
“You brought me where your brother Ardan sat
Always in his one seat, and bid me care him
Through that strange illness that had fixed him there,
And should he die to heap his burial mound
And carve his name in Ogham.” Eochaid said,
“He lives?” “He lives and is a healthy man.”
“While I have him and you it matters little
What man you have lost, what evil you have found.”
“I bid them make his bed under this roof
And carried him his food with my own hands,
And so the weeks passed by. But when I said
‘What is this trouble?’ he would answer nothing,
Though always at my words his trouble grew;
And I but asked the more, till he cried out,
Weary of many questions: ‘There are things
That make the heart akin to the dumb stone.’
Then I replied: ‘Although you hide a secret,
Hopeless and dear, or terrible to think on,
Speak it, that I may send through the wide world
For medicine.’ Thereon he cried aloud:
‘Day after day you question me, and I,
Because there is such a storm amid my thoughts
I shall be carried in the gust, command,
Forbid, beseech and waste my breath.’ Then I,
‘Although the thing that you have hid were evil,
The speaking of it could be no great wrong,
And evil must it be, if done ’twere worse
Than mound and stone that keep all virtue in,
And loosen on us dreams that waste our life,
Shadows and shows that can but turn the brain.’
But finding him still silent I stooped down
And whispering that none but he should hear,
Said: ‘If a woman has put this on you,
My men, whether it please her or displease,
And though they have to cross the Loughlan waters
And take her in the middle of armed men,
Shall make her look upon her handiwork,
That she may quench the rick she has fired; and though
She may have worn silk clothes, or worn a crown,
She’ll not be proud, knowing within her heart
That our sufficient portion of the world
Is that we give, although it be brief giving,
Happiness to children and to men.’
Then he, driven by his thought beyond his thought,
And speaking what he would not though he would,
Sighed: ‘You, even you yourself, could work the cure!’
And at those words I rose and I went out
And for nine days he had food from other hands,
And for nine days my mind went whirling round
The one disastrous zodiac, muttering
That the immedicable mound’s beyond
Our questioning, beyond our pity even.
But when nine days had gone I stood again
Before his chair and bending down my head
Told him, that when Orion rose, and all
The women of his household were asleep,
To go⁠—for hope would give his limbs the power⁠—
To an old empty woodman’s house that’s hidden
Close to a clump of beech trees in the wood
Westward of Tara, there to await a friend
That could, as he had told her, work his cure
And would be no harsh friend. When night had deepened,
I groped my way through boughs, and over roots,
Till oak and hazel ceased and beech began,
And found the house, a sputtering torch within,
And stretched out sleeping on a pile of skins
Ardan, and though I called to him and tried
To shake him out of sleep, I could not rouse him.
I waited till the night was on the turn,
Then fearing that some labourer, on his way
To plough or pasture-land, might see me there,
Went out. Among the ivy-covered rocks,
As on the blue light of a sword, a man
Who had unnatural majesty, and eyes
Like the eyes of some great kite scouring the woods,
Stood on my path. Trembling from head to foot
I gazed at him like grouse upon a kite;
But with a voice that had unnatural music,
‘A weary wooing and a long,’ he said,
‘Speaking of love through other lips and looking
Under the eyelids of another, for it was my craft
That put a passion in the sleeper there,
And when I had got my will and drawn you here,
Where I may speak to you alone, my craft
Sucked up the passion out of him again
And left mere sleep. He’ll wake when the sun wakes,
Push out his vigorous limbs and rub his eyes,
And wonder what has ailed him these twelve months.’
I cowered back upon the wall in terror,
But that sweet-sounding voice ran on: ‘Woman,
I was your husband when you rode the air,
Danced in the whirling foam and in the dust,
In days you have not kept in memory,
Being betrayed into a cradle, and I come
That I may claim you as my wife again.’
I was no longer terrified, his voice
Had half awakened some old memory,
Yet answered him: ‘I am King Eochaid’s wife
And with him have found every happiness
Women can find.’ With a most masterful voice,
That made the body seem as it were a string
Under a bow, he cried: ‘What happiness
Can lovers have that know their happiness
Must end at the dumb stone? But where we build
Our sudden palaces in the still air
Pleasure itself can bring no weariness,
Nor can time waste the cheek, nor is there foot
That has grown weary of the whirling dance,
Nor an unlaughing mouth, but mine that mourns,
Among those mouths that sing their sweethearts’ praise,
Your empty bed.’ ‘How should I love,’ I answered,
‘Were it not that when the dawn has lit my bed
And shown my husband sleeping there, I have sighed,
“Your strength and nobleness will pass away.”
Or how should love be worth its pains were it not
That when he has fallen asleep within my arms,
Being wearied out, I love in man the child?
What can they know of love that do not know
She builds her nest upon a narrow ledge
Above a windy precipice?’ Then he:
‘Seeing that when you come to the death-bed
You must return, whether you would or no,
This human life blotted from memory,
Why must I live some thirty, forty years,
Alone with all this useless happiness?’
Thereon he seized me in his arms, but I
Thrust him away with both my hands and cried,
‘Never will I believe there is any change
Can blot out of my memory this life
Sweetened by death, but if I could believe
That were a double hunger in my lips
For what is doubly brief.’ And now the shape,
My hands were pressed to, vanished suddenly.
I staggered, but a beech tree stayed my fall,
And clinging to it I could hear the cocks
Crow upon Tara.” King Eochaid bowed his head
And thanked her for her kindness to his brother,
For that she promised, and for that refused.

Thereon the bellowing of the empounded herds
Rose round the walls, and through the bronze-ringed door
Jostled and shouted those war-wasted men,
And in the midst King Eochaid’s brother stood.
And bade all welcome, being ignorant.

To a Wealthy Man Who Promised a Second Subscription to the Dublin Municipal Gallery if It Were Proved the People Wanted Pictures19

You gave but will not give again
Until enough of Paudeen’s pence
By Biddy’s halfpennies have lain
To be “some sort of evidence,”
Before you’ll put your guineas down,
That things it were a pride to give
Are what the blind and ignorant town
Imagines best to make it thrive.
What cared Duke Ercole, that bid
His mummers to the market place,
What th’ onion-sellers thought or did
So that his Plautus set the pace
For the Italian comedies?
And Guidobaldo, when he made
That grammar school of courtesies
Where wit and beauty learned their trade
Upon Urbino’s windy hill,
Had sent no runners to and fro
That he might learn the shepherds’ will.
And when they drove out Cosimo,
Indifferent how the rancour ran,
He gave the hours they had set free
To Michelozzo’s latest plan
For the San Marco Library,
Whence turbulent Italy should draw
Delight in Art whose end is peace,
In logic and in natural law
By sucking at the dugs of Greece.

Your open hand but shows our loss,
For he knew better how to live.
Let Paudeens play at pitch and toss,
Look up in the sun’s eye and give
What the exultant heart calls good
That some new day may breed the best
Because you gave, not what they would
But the right twigs for an eagle’s nest!

September 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.

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.

Yet could we turn the years again,
And call those exiles as they were
In all their loneliness and pain,
You’d cry “some woman’s yellow hair
Has maddened every mother’s son”:
They weighed so lightly what they gave,
But let them be, they’re dead and gone,
They’re with O’Leary in the grave.

To a Friend Whose Work Has Come to Nothing

Now all the truth is out,
Be secret and take defeat
From any brazen throat,
For how can you compete,
Being honour bred, with one
Who, were it proved he lies,
Were neither shamed in his own
Nor in his neighbours’ eyes?
Bred to a harder thing
Than Triumph, turn away
And like a laughing string
Whereon mad fingers play
Amid a place of stone,
Be secret and exult,
Because of all things known
That is most difficult.

Paudeen

Indignant at the fumbling wits, the obscure spite
Of our old Paudeen in his shop, I stumbled blind
Among the stones and thorn trees, under morning light;
Until a curlew cried and in the luminous wind
A curlew answered; and suddenly thereupon I thought
That on the lonely height where all are in God’s eye,
There cannot be, confusion of our sound forgot,
A single soul that lacks a sweet crystalline cry.

To a Shade

If you have revisited the town, thin Shade,
Whether to look upon your monument
(I wonder if the builder has been paid)
Or happier thoughted when the day is spent
To drink of that salt breath out of the sea
When grey gulls flit about instead of men,
And the gaunt houses put on majesty:
Let these content you and be gone again;
For they are at their old tricks yet. A man
Of your own passionate serving kind who had brought
In his full hands what, had they only known,
Had given their children’s children loftier thought,
Sweeter emotion, working in their veins
Like gentle blood, has been driven from the place,
And insult heaped upon him for his pains
And for his open-handedness, disgrace;
Your enemy, an old foul mouth, had set
The pack upon him. Go, unquiet wanderer,
And gather the Glasnevin coverlet
About your head till the dust stops your ear,
The time for you to taste of that salt breath
And listen at the corners has not come;
You had enough of sorrow before death⁠—
Away, away! You are safer in the tomb.

When Helen Lived

We have cried in our despair
That men desert,
For some trivial affair
Or noisy, insolent sport,
Beauty that we have won
From bitterest hours;
Yet we, had we walked within
Those topless towers
Where Helen walked with her boy,
Had given but as the rest
Of the men and women of Troy,
A word and a jest.

On Those That Hated The Playboy of the Western World, 1907

Once, when midnight smote the air,
Eunuchs ran through Hell and met
On every crowded street to stare
Upon great Juan riding by:
Even like these to rail and sweat
Staring upon his sinewy thigh.

The Three Beggars

“Though to my feathers in the wet,
I have stood here from break of day,
I have not found a thing to eat
For only rubbish comes my way.
Am I to live on lebeen-lone?”
Muttered the old crane of Gort.
“For all my pains on lebeen-lone.”

King Guari walked amid his court
The palace-yard and river-side
And there to three old beggars said:
“You that have wandered far and wide
Can ravel out what’s in my head.
Do men who least desire get most,
Or get the most who most desire?”
A beggar said: “They get the most
Whom man or devil cannot tire,
And what could make their muscles taut
Unless desire had made them so.”
But Guari laughed with secret thought,
“If that be true as it seems true,
One of you three is a rich man,
For he shall have a thousand pounds
Who is first asleep, if but he can
Sleep before the third noon sounds.”
And thereon merry as a bird,
With his old thoughts King Guari went
From river-side and palace-yard
And left them to their argument.
“And if I win,” one beggar said,
“Though I am old I shall persuade
A pretty girl to share my bed”;
The second: “I shall learn a trade”;
The third: “I’ll hurry to the course
Among the other gentlemen,
And lay it all upon a horse”;
The second: “I have thought again:
A farmer has more dignity.”
One to another sighed and cried:
The exorbitant dreams of beggary,
That idleness had borne to pride,
Sang through their teeth from noon to noon;
And when the second twilight brought
The frenzy of the beggars’ moon
None closed his blood-shot eyes but sought
To keep his fellows from their sleep;
All shouted till their anger grew
And they were whirling in a heap.

They mauled and bit the whole night through;
They mauled and bit till the day shone;
They mauled and bit through all that day
And till another night had gone,
Or if they made a moment’s stay
They sat upon their heels to rail,
And when old Guari came and stood
Before the three to end this tale,
They were commingling lice and blood.
“Time’s up,” he cried, and all the three
With blood-shot eyes upon him stared.
“Time’s up,” he cried, and all the three
Fell down upon the dust and snored.

“Maybe I shall be lucky yet,
Now they are silent,” said the crane.
“Though to my feathers in the wet
I’ve stood as I were made of stone
And seen the rubbish run about,
It’s certain there are trout somewhere
And maybe I shall take a trout
If but I do not seem to care.”

The Three Hermits

Three old hermits took the air
By a cold and desolate sea,
First was muttering a prayer,
Second rummaged for a flea;
On a windy stone, the third,
Giddy with his hundredth year,
Sang unnoticed like a bird.
“Though the Door of Death is near
And what waits behind the door,
Three times in a single day
I, though upright on the shore,
Fall asleep when I should pray.”
So the first but now the second,
“We’re but given what we have earned
When all thoughts and deeds are reckoned,
So it’s plain to be discerned
That the shades of holy men,
Who have failed being weak of will,
Pass the Door of Birth again,
And are plagued by crowds, until
They’ve the passion to escape.”
Moaned the other, “They are thrown
Into some most fearful shape.”
But the second mocked his moan:
“They are not changed to anything,
Having loved God once, but maybe,
To a poet or a king
Or a witty lovely lady.”
While he’d rummaged rags and hair,
Caught and cracked his flea, the third,
Giddy with his hundredth year
Sang unnoticed like a bird.

Beggar to Beggar Cried

“Time to put off the world and go somewhere
And find my health again in the sea air,”
Beggar to beggar cried, being frenzy-struck,
“And make my soul before my pate is bare.”

“And get a comfortable wife and house
To rid me of the devil in my shoes,”
Beggar to beggar cried, being frenzy-struck,
“And the worse devil that is between my thighs.”

“And though I’d marry with a comely lass,
She need not be too comely⁠—let it pass,”
Beggar to beggar cried, being frenzy-struck,
“But there’s a devil in a looking-glass.”

“Nor should she be too rich, because the rich
Are driven by wealth as beggars by the itch,”
Beggar to beggar cried, being frenzy-struck,
“And cannot have a humorous happy speech.”

“And there I’ll grow respected at my ease,
And hear amid the garden’s nightly peace,”
Beggar to beggar cried, being frenzy-struck,
“The wind-blown clamor of the barnacle-geese.”

Running to Paradise

As I came over Windy Gap
They threw a halfpenny into my cap,
For I am running to Paradise;
And all that I need do is to wish
And somebody puts his hand in the dish
To throw me a bit of salted fish:
And there the king is but as the beggar.

My brother Mourteen is worn out
With skelping his big brawling lout,
And I am running to Paradise;
A poor life do what he can,
And though he keep a dog and a gun,
A serving maid and a serving man:
And there the king is but as the beggar.

Poor men have grown to be rich men,
And rich men grown to be poor again,
And I am running to Paradise;
And many a darling wit’s grown dull
That tossed a bare heel when at school,
Now it has filled an old sock full:
And there the king is but as the beggar.

The wind is old and still at play
While I must hurry upon my way,
For I am running to Paradise;
Yet never have I lit on a friend
To take my fancy like the wind
That nobody can buy or bind:
And there the king is but as the beggar.

The Hour Before Dawn

A cursing rogue with a merry face,
A bundle of rags upon a crutch,
Stumbled upon that windy place
Called Croghan, and it was as much
As the one sturdy leg could do
To keep him upright while he cursed.
He had counted, where long years ago
Queen Maeve’s nine Maines had been nursed,
A pair of lapwings, one old sheep
And not a house to the plain’s edge,
When close to his right hand a heap
Of grey stones and a rocky ledge
Reminded him that he could make,
If he but shifted a few stones,
A shelter till the daylight broke.

But while he fumbled with the stones
They toppled over; “Were it not
I have a lucky wooden shin
I had been hurt”; and toppling brought
Before his eyes, where stones had been,
A dark deep hollow in the rock.
He gave a gasp and thought to have fled,
Being certain it was no right rock
Because an ancient history said
Hell Mouth lay open near that place,
And yet stood still, because inside
A great lad with a beery face
Had tucked himself away beside
A ladle and a tub of beer,
And snored, no phantom by his look.
So with a laugh at his own fear
He crawled into that pleasant nook.

“Night grows uneasy near the dawn
Till even I sleep light; but who
Has tired of his own company?
What one of Maeve’s nine brawling sons
Sick of his grave has wakened me?
But let him keep his grave for once
That I may find the sleep I have lost.”

“What care I if you sleep or wake,
But I’ll have no man call me ghost.”

“Say what you please, but from daybreak
I’ll sleep another century.”

“And I will talk before I sleep
And drink before I talk.” And he
Had dipped the wooden ladle deep
Into the sleeper’s tub of beer
Had not the sleeper started up.
“Before you have dipped it in the beer
I dragged from Goban’s mountain-top
I’ll have assurance that you are able
To value beer; no half-legged fool
Shall dip his nose into my ladle
Merely for stumbling on this hole
In the bad hour before the dawn.”

“Why, beer is only beer.” “But say
‘I’ll sleep until the winter’s gone,
Or maybe to Midsummer Day,’
And drink, and you will sleep that length.”

“I’d like to sleep till winter’s gone
Or till the sun is in his strength.
This blast has chilled me to the bone.”

“I had no better plan at first.
I thought to wait for that or this;
Because the weather was a-cursed
Or I had no woman there to kiss;
So slept for half a year or so;
But year by year I found that less
Gave me such pleasure I’d forgo
Even a half hour’s nothingness,
And when at one year’s end I found
I had not waked a single minute,
I chose this burrow under ground.
I’ll sleep away all Time within it:
My sleep were now nine centuries
But for those mornings when I find
The lapwing at their foolish cries
And the sheep bleating at the wind
As when I also played the fool.”

The beggar in a rage began
Upon his hunkers in the hole,
“It’s plain that you are no right man
To mock at everything I love
As if it were not worth the doing.
I’d have a merry life enough
If a good Easter wind were blowing,
And though the winter wind is bad
I should not be too down in the mouth
For anything you did or said
If but this wind were in the south.”

“You cry aloud, O would ’twere spring
Or that the wind would shift a point
And do not know that you would bring,
If time were suppler in the joint,
Neither the spring nor the south wind
But the hour when you shall pass away
And leave no smoking wick behind,
For all life longs for the Last Day
And there’s no man but cocks his ear
To know when Michael’s trumpet cries
That flesh and bone may disappear,
And souls as if they were but sighs,
And there be nothing but God left;
But I alone being blessed keep
Like some old rabbit to my cleft
And wait Him in a drunken sleep.”
He dipped his ladle in the tub
And drank and yawned and stretched him out.
The other shouted, “You would rob
My life of every pleasant thought
And every comfortable thing
And so take that and that.” Thereon
He gave him a great pummelling,
But might have pummelled at a stone
For all the sleeper knew or cared;
And after heaped up stone on stone,
And then, grown weary, prayed and cursed
And heaped up stone on stone again,
And prayed and cursed and cursed and fled
From Maeve and all that juggling plain,
Nor gave God thanks till overhead
The clouds were brightening with the dawn.

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 wagons
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.

I

To a Child Dancing in the Wind

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

Two Years Later

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.

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 whinnying sound
That is like laughter, sprang again
And so to the other tree at a bound.
Nor the tame will, nor timid brain,
Nor heavy knitting of the brow
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.

I

The Dolls20

A doll in the doll-maker’s house
Looks at the cradle and bawls:
“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 eyes
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

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.

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 Major 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 th’ 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,
In muscular youth well known to Mayo men
For horsemanship at meets or at race-courses,
That could have shown how purebred horses
And solid men, for all their passion, live
But as the outrageous stars incline
By opposition, square and trine;
Having grown sluggish and contemplative.

6

They were my close companions many a year,
A portion of my mind and life, as it were,
And now their breathless faces seem to look
Out of some old picture-book;
I am accustomed to their lack of breath,
But not that my dear friend’s dear son,
Our Sidney and our perfect man,
Could share in that discourtesy of death.

7

For all things the delighted eye now sees
Were loved by him; the old storm-broken trees
That cast their shadows upon road and bridge;
The tower set on the stream’s edge;
The ford where drinking cattle make a stir
Nightly, and startled by that sound
The water-hen must change her ground;
He might have been your heartiest welcomer.

8

When with the Galway foxhounds he would ride
From Castle Taylor to the Roxborough side
Or Esserkelly plain, few kept his pace;
At Mooneen he had leaped a place
So perilous that half the astonished meet
Had shut their eyes, and where was it
He rode a race without a bit?
And yet his mind outran the horses’ feet.

9

We dreamed that a great painter had been born
To cold Clare rock and Galway rock and thorn,
To that stern colour and that delicate line
That are our secret discipline
Wherein the gazing heart doubles her might.
Soldier, scholar, horseman, he,
And yet he had the intensity
To have published all to be a world’s delight.

10

What other could so well have counselled us
In all lovely intricacies of a house
As he that practised or that understood
All work in metal or in wood,
In moulded plaster or in carven stone?
Soldier, scholar, horseman, he,
And all he did done perfectly
As though he had but that one trade alone.

11

Some burn damp fagots, others may consume
The entire combustible world in one small room
As though dried straw, and if we turn about
The bare chimney is gone black out
Because the work had finished in that flare.
Soldier, scholar, horseman, he,
As ’twere all life’s epitome.
What made us dream that he could comb grey hair?

12

I had thought, seeing how bitter is that wind
That shakes the shutter, to have brought to mind
All those that manhood tried, or childhood loved
Or boyish intellect approved,
With some appropriate commentary on each;
Until imagination brought
A fitter welcome; but a thought
Of that late death took all my heart for speech.

An Irish Airman Foresees His Death

I know that I shall meet my fate
Somewhere among the clouds above;
Those that I fight I do not hate,
Those that I guard I do not love;
My country is Kiltartan Cross,
My countrymen Kiltartan’s poor,
No likely end could bring them loss
Or leave them happier than before.
Nor law, nor duty bade me fight,
Nor public man, nor angry crowds,
A lonely impulse of delight
Drove to this tumult in the clouds;
I balanced all, brought all to mind,
The years to come seemed waste of breath,
A waste of breath the years behind
In balance with this life, this death.

Men Improve with the Years

I am worn out with dreams;
A weather-worn, marble triton
Among the streams;
And all day long I look
Upon this lady’s beauty
As though I had found in book
A pictured beauty,
Pleased to have filled the eyes
Or the discerning ears,
Delighted to be but wise,
For men improve with the years;
And yet and yet
Is this my dream, or the truth?
O would that we had met
When I had my burning youth;
But I grow old among dreams,
A weather-worn, marble triton
Among the streams.

The Collar-Bone of a Hare

Would I could cast a sail on the water
Where many a king has gone
And many a king’s daughter,
And alight at the comely trees and the lawn,
The playing upon pipes and the dancing,
And learn that the best thing is
To change my loves while dancing
And pay but a kiss for a kiss.

I would find by the edge of that water
The collar-bone of a hare
Worn thin by the lapping of water,
And pierce it through with a gimlet and stare
At the old bitter world where they marry in churches,
And laugh over the untroubled water
At all who marry in churches,
Through the white thin bone of a hare.

Under the Round Tower

“Although I’d lie lapped up in linen
A deal I’d sweat and little earn
If I should live as live the neighbours,”
Cried the beggar, Billy Byrne;
“Stretch bones till the daylight come
On great-grandfather’s battered tomb.”

Upon a grey old battered tombstone
In Glendalough beside the stream,
Where the O’Byrnes and Byrnes are buried,
He stretched his bones and fell in a dream
Of sun and moon that a good hour
Bellowed and pranced in the round tower;

Of golden king and silver lady,
Bellowing up and bellowing round,
Till toes mastered a sweet measure,
Mouth mastered a sweet sound,
Prancing round and prancing up
Until they pranced upon the top.

That golden king and that wild lady
Sang till stars began to fade,
Hands gripped in hands, toes close together,
Hair spread on the wind they made;
That lady and that golden king
Could like a brace of blackbirds sing.

“It’s certain that my luck is broken,”
That rambling jailbird Billy said;
“Before nightfall I’ll pick a pocket
And snug it in a feather-bed,
I cannot find the peace of home
On great-grandfather’s battered tomb.”

Solomon to Sheba

Sang Solomon to Sheba,
And kissed her dusky face,
“All day long from mid-day
We have talked in the one place,
All day long from shadowless noon
We have gone round and round
In the narrow theme of love
Like an old horse in a pound.”

To Solomon sang Sheba,
Planted on his knees,
“If you had broached a matter
That might the learned please,
You had before the sun had thrown
Our shadows on the ground
Discovered that my thoughts, not it,
Are but a narrow pound.”

Sang Solomon to Sheba,
And kissed her Arab eyes,
“There’s not a man or woman
Born under the skies
Dare match in learning with us two,
And all day long we have found
There’s not a thing but love can make
The world a narrow pound.”

The Living Beauty

I’ll say and maybe dream I have drawn content⁠—
Seeing that time has frozen up the blood,
The wick of youth being burned and the oil spent⁠—
From beauty that is cast out of a mould
In bronze, or that in dazzling marble appears,
Appears, and when we have gone is gone again,
Being more indifferent to our solitude
Than ’twere an apparition. O heart, we are old,
The living beauty is for younger men,
We cannot pay its tribute of wild tears.

A Song

I thought no more was needed
Youth to prolong
Than dumb-bell and foil
To keep the body young.
Oh, who could have foretold
That the heart grows old?

Though I have many words,
What woman’s satisfied,
I am no longer faint
Because at her side?
Oh, who could have foretold
That the heart grows old?

I have not lost desire
But the heart that I had;
I thought ’twould burn my body
Laid on the death-bed.
But who could have foretold
That the heart grows old?

To a Young Beauty

Dear fellow-artist, why so free
With every sort of company,
With every Jack and Jill?
Choose your companions from the best;
Who draws a bucket with the rest
Soon topples down the hill.

You may, that mirror for a school,
Be passionate, not bountiful
As common beauties may,
Who were not born to keep in trim
With old Ezekiel’s cherubim
But those of Beaujolet.

I know what wages beauty gives,
How hard a life her servant lives,
Yet praise the winters gone;
There is not a fool can call me friend,
And I may dine at journey’s end
With Landor and with Donne.

To a Young Girl

My dear, my dear, I know
More than another
What makes your heart beat so;
Not even your own mother
Can know it as I know,
Who broke my heart for her
When the wild thought,
That she denies
And has forgot,
Set all her blood astir
And glittered in her eyes.

The Scholars

Bald heads forgetful of their sins,
Old, learned, respectable bald heads
Edit and annotate the lines
That young men, tossing on their beds,
Rhymed out in love’s despair
To flatter beauty’s ignorant ear.

They’ll cough in the ink to the world’s end;
Wear out the carpet with their shoes
Earning respect; have no strange friend;
If they have sinned nobody knows.
Lord, what would they say
Should their Catullus walk that way?

Tom O’Roughley

“Though logic choppers rule the town,
And every man and maid and boy
Has marked a distant object down,
An aimless joy is a pure joy,”
Or so did Tom O’Roughley say
That saw the surges running by,
“And wisdom is a butterfly
And not a gloomy bird of prey.

“If little planned is little sinned
But little need the grave distress.
What’s dying but a second wind?
How but in zig-zag wantonness
Could trumpeter Michael be so brave?”
Or something of that sort he said,
“And if my dearest friend were dead
I’d dance a measure on his grave.”

The Sad Shepherd

Shepherd	That cry’s from the first cuckoo of the year. I wished before it ceased.
Goatherd	Nor bird nor beast Could make me wish for anything this day, Being old, but that the old alone might die, And that would be against God’s Providence. Let the young wish. But what has brought you here? Never until this moment have we met Where my goats browse on the scarce grass or leap From stone to stone.
Shepherd	I am looking for strayed sheep; Something has troubled me and in my trouble I let them stray. I thought of rhyme alone, For rhyme can beat a measure out of trouble And make the daylight sweet once more; but when I had driven every rhyme into its place The sheep had gone from theirs.
Goatherd	I know right well What turned so good a shepherd from his charge.
Shepherd	He that was best in every country sport And every country craft, and of us all Most courteous to slow age and hasty youth Is dead.
Goatherd	The boy that brings my griddle cake Brought the bare news.
Shepherd	He had thrown the crook away And died in the great war beyond the sea.
Goatherd	He had often played his pipes among my hills, And when he played it was their loneliness, The exultation of their stone, that cried Under his fingers.
Shepherd	I had it from his mother, And his own flock was browsing at the door.
Goatherd	How does she bear her grief? There is not a shepherd But grows more gentle when he speaks her name, Remembering kindness done, and how can I That found when I had neither goat nor grazing New welcome and old wisdom at her fire Till winter blasts were gone, but speak of her Even before his children and his wife.
Shepherd	She goes about her house erect and calm Between the pantry and the linen chest, Or else at meadow or at grazing overlooks Her labouring men, as though her darling lived, But for her grandson now; there is no change But such as I have seen upon her face Watching our shepherd sports at harvest-time When her son’s turn was over.
Goatherd	Sing your song, I too have rhymed my reveries, but youth Is hot to show whatever it has found, And till that’s done can neither work nor wait. Old goatherds and old goats, if in all else Youth can excel them in accomplishment, Are learned in waiting.
Shepherd	You cannot but have seen That he alone had gathered up no gear, Set carpenters to work on no wide table, On no long bench nor lofty milking shed As others will, when first they take possession, But left the house as in his father’s time As though he knew himself, as it were, a cuckoo, No settled man. And now that he is gone There’s nothing of him left but half a score Of sorrowful, austere, sweet, lofty pipe tunes.
Goatherd	You have put the thought in rhyme.
Shepherd	I worked all day And when ’twas done so little had I done That maybe “I am sorry” in plain prose Had sounded better to your mountain fancy.
	He sings.
	“Like the speckled bird that steers Thousands of leagues oversea, And runs for a while or a while half-flies Upon his yellow legs through our meadows, He stayed for a while; and we Had scarcely accustomed our ears To his speech at the break of day, Had scarcely accustomed our eyes To his shape at the rinsing pool Among the evening shadows, When he vanished from ears and eyes. I had wished a dear thing on that day I heard him first, but man is a fool.”
Goatherd	You sing as always of the natural life, And I that made like music in my youth Hearing it now have sighed for that young man And certain lost companions of my own.
Shepherd	They say that on your barren mountain ridge You have measured out the road that the soul treads When it has vanished from our natural eyes; That you have talked with apparitions.
Goatherd	Indeed My daily thoughts since the first stupor of youth Have found the path my goat’s feet cannot find.
Shepherd	Sing, for it may be that your thoughts have plucked Some medicable herb to make our grief Less bitter.
Goatherd	They have brought me from that ridge Seed pods and flowers that are not all wild poppy.
	Sings.
	“He grows younger every second That were all his birthdays reckoned Much too solemn seemed; Because of what he had dreamed, Or the ambitions that he served, Much too solemn and reserved. Jaunting, journeying To his own dayspring, He unpacks the loaded pern21 Of all ’twas pain or joy to learn, Of all that he had made. The outrageous war shall fade; At some old winding whitethorn root He’ll practise on the shepherd’s flute, Or on the close-cropped grass Court his shepherd lass, Or run where lads reform our daytime Till that is their long shouting playtime; Knowledge he shall unwind Through victories of the mind, Till, clambering at the cradle side, He dreams himself his mother’s pride, All knowledge lost in trance Of sweeter ignorance.”
Shepherd	When I have shut these ewes and this old ram Into the fold, we’ll to the woods and there Cut out our rhymes on strips of new-torn bark But put no name and leave them at her door. To know the mountain and the valley have grieved May be a quiet thought to wife and mother, And children when they spring up shoulder high.

Lines Written in Dejection

When have I last looked on
The round green eyes and the long wavering bodies
Of the dark leopards of the moon?
All the wild witches, those most noble ladies,
For all their broom-sticks and their tears,
Their angry tears, are gone.
The holy centaurs of the hills are vanished;
And I have nothing but harsh sun;
Heroic mother moon has vanished,
And now that I have come to fifty years
I must endure the timid sun.

The Dawn

I would be ignorant as the dawn
That has looked down
On that old queen measuring a town
With the pin of a brooch,
Or on the withered men that saw
From their pedantic Babylon
The careless planets in their courses,
The stars fade out where the moon comes,
And took their tablets and did sums;
I would be ignorant as the dawn
That merely stood, rocking the glittering coach
Above the cloudy shoulders of the horses;
I would be⁠—for no knowledge is worth a straw⁠—
Ignorant and wanton as the dawn.

On Woman

May God be praised for woman
That gives up all her mind,
A man may find in no man
A friendship of her kind
That covers all he has brought
As with her flesh and bone,
Nor quarrels with a thought
Because it is not her own.

Though pedantry denies
It’s plain the Bible means
That Solomon grew wise
While talking with his queens.
Yet never could, although
They say he counted grass,
Count all the praises due
When Sheba was his lass,
When she the iron wrought, or
When from the smithy fire
It shuddered in the water:
Harshness of their desire
That made them stretch and yawn,
Pleasure that comes with sleep,
Shudder that made them one.
What else He give or keep
God grant me⁠—no, not here,
For I am not so bold
To hope a thing so dear
Now I am growing old,
But when if the tale’s true
The Pestle of the moon
That pounds up all anew
Brings me to birth again⁠—
To find what once I had
And know what once I have known,
Until I am driven mad,
Sleep driven from my bed,
By tenderness and care,
Pity, an aching head,
Gnashing of teeth, despair;
And all because of some one
Perverse creature of chance,
And live like Solomon
That Sheba led a dance.

The Fisherman

Although I can see him still
The freckled man who goes
To a grey place on a hill
In grey Connemara clothes
At dawn to cast his flies,
It’s long since I began
To call up to the eyes
This wise and simple man.
All day I’d looked in the face
What I had hoped ’twould be
To write for my own race
And the reality;
The living men that I hate,
The dead man that I loved,
The craven man in his seat,
The insolent unreproved,
And no knave brought to book
Who has won a drunken cheer,
The witty man and his joke
Aimed at the commonest ear,
The clever man who cries
The catch-cries of the clown,
The beating down of the wise
And great Art beaten down.

Maybe a twelvemonth since
Suddenly I began,
In scorn of this audience
Imagining a man,
And his sun-freckled face,
And grey Connemara cloth,
Climbing up to a place
Where stone is dark under froth,
And the down turn of his wrist
When the flies drop in the stream;
A man who does not exist,
A man who is but a dream;
And cried, “Before I am old
I shall have written him one
Poem maybe as cold
And passionate as the dawn.”

The Hawk

“Call down the hawk from the air;
Let him be hooded or caged
Till the yellow eye has grown mild,
For larder and spit are bare,
The old cook enraged,
The scullion gone wild.”

“I will not be clapped in a hood,
Nor a cage, nor alight upon wrist,
Now I have learnt to be proud
Hovering over the wood
In the broken mist
Or tumbling cloud.”

“What tumbling cloud did you cleave,
Yellow-eyed hawk of the mind,
Last evening? that I, who had sat
Dumbfounded before a knave,
Should give to my friend
A pretence of wit.”

Memory

One had a lovely face,
And two or three had charm,
But charm and face were in vain
Because the mountain grass
Cannot but keep the form
Where the mountain hare has lain.

Her Praise

She is foremost of those that I would hear praised.
I have gone about the house, gone up and down
As a man does who has published a new book
Or a young girl dressed out in her new gown,
And though I have turned the talk by hook or crook
Until her praise should be the uppermost theme,
A woman spoke of some new tale she had read,
A man confusedly in a half dream
As though some other name ran in his head.
She is foremost of those that I would hear praised.
I will talk no more of books or the long war
But walk by the dry thorn until I have found
Some beggar sheltering from the wind, and there
Manage the talk until her name come round.
If there be rags enough he will know her name
And be well pleased remembering it, for in the old days,
Though she had young men’s praise and old men’s blame,
Among the poor both old and young gave her praise.

The People

“What have I earned for all that work,” I said,
“For all that I have done at my own charge?
The daily spite of this unmannerly town,
Where who has served the most is most defamed,
The reputation of his lifetime lost
Between the night and morning. I might have lived,
And you know well how great the longing has been,
Where every day my footfall should have lit
In the green shadow of Ferrara wall;
Or climbed among the images of the past⁠—
The unperturbed and courtly images⁠—
Evening and morning, the steep street of Urbino
To where the duchess and her people talked
The stately midnight through until they stood
In their great window looking at the dawn;
I might have had no friend that could not mix
Courtesy and passion into one like those
That saw the wicks grow yellow in the dawn;
I might have used the one substantial right
My trade allows: chosen my company,
And chosen what scenery had pleased me best.”
Thereon my phoenix answered in reproof,
“The drunkards, pilferers of public funds,
All the dishonest crowd I had driven away,
When my luck changed and they dared meet my face,
Crawled from obscurity, and set upon me
Those I had served and some that I had fed;
Yet never have I, now nor any time,
Complained of the people.”

All I could reply
Was: “You, that have not lived in thought but deed,
Can have the purity of a natural force,
But I, whose virtues are the definitions
Of the analytic mind, can neither close
The eye of the mind nor keep my tongue from speech.”
And yet, because my heart leaped at her words,
I was abashed, and now they come to mind
After nine years, I sink my head abashed.

His Phoenix

There is a queen in China, or maybe it’s in Spain,
And birthdays and holidays such praises can be heard
Of her unblemished lineaments, a whiteness with no stain,
That she might be that sprightly girl who was trodden by a bird;
And there’s a score of duchesses, surpassing womankind,
Or who have found a painter to make them so for pay
And smooth out stain and blemish with the elegance of his mind:
I knew a phoenix in my youth so let them have their day.

The young men every night applaud their Gaby’s laughing eye,
And Ruth St. Denis had more charm although she had poor luck,
From nineteen hundred nine or ten, Pavlova’s had the cry,
And there’s a player in the States who gathers up her cloak
And flings herself out of the room when Juliet would be bride
With all a woman’s passion, a child’s imperious way,
And there are⁠—but no matter if there are scores beside:
I knew a phoenix in my youth so let them have their day.

There’s Margaret and Marjorie and Dorothy and Nan,
A Daphne and a Mary who live in privacy;
One’s had her fill of lovers, another’s had but one,
Another boasts, “I pick and choose and have but two or three.”
If head and limb have beauty and the instep’s high and light
They can spread out what sail they please for all I have to say,
Be but the breakers of men’s hearts or engines of delight:
I knew a phoenix in my youth so let them have their day.

There’ll be that crowd, that barbarous crowd, through all the centuries,
And who can say but some young belle may walk and talk men wild
Who is my beauty’s equal, though that my heart denies,
But not the exact likeness, the simplicity of a child,
And that proud look as though she had gazed into the burning sun,
And all the shapely body no tittle gone astray,
I mourn for that most lonely thing; and yet God’s will be done,
I knew a phoenix in my youth so let them have their day.

A Thought from Propertius

She might, so noble from head
To great shapely knees
The long flowing line,
Have walked to the altar
Through the holy images
At Pallas Athene’s side,
Or been fit spoil for a centaur
Drunk with the unmixed wine.

Broken Dreams

There is grey in your hair.
Young men no longer suddenly catch their breath
When you are passing;
But maybe some old gaffer mutters a blessing
Because it was your prayer
Recovered him upon the bed of death.
For your sole sake⁠—that all heart’s ache have known,
And given to others all heart’s ache,
From meagre girlhood’s putting on
Burdensome beauty⁠—for your sole sake
Heaven has put away the stroke of her doom,
So great her portion in that peace you make
By merely walking in a room.

Your beauty can but leave among us
Vague memories, nothing but memories.
A young man when the old men are done talking
Will say to an old man, “Tell me of that lady
The poet stubborn with his passion sang us
When age might well have chilled his blood.”

Vague memories, nothing but memories,
But in the grave all, all, shall be renewed.
The certainty that I shall see that lady
Leaning or standing or walking
In the first loveliness of womanhood,
And with the fervour of my youthful eyes,
Has set me muttering like a fool.

You are more beautiful than any one
And yet your body had a flaw:
Your small hands were not beautiful,
And I am afraid that you will run
And paddle to the wrist
In that mysterious, always brimming lake
Where those that have obeyed the holy law
Paddle and are perfect; leave unchanged
The hands that I have kissed
For old sakes’ sake.

The last stroke of midnight dies.
All day in the one chair
From dream to dream and rhyme to rhyme I have ranged
In rambling talk with an image of air:
Vague memories, nothing but memories.

A Deep-Sworn Vow

Others because you did not keep
That deep-sworn vow have been friends of mine;
Yet always when I look death in the face,
When I clamber to the heights of sleep,
Or when I grow excited with wine,
Suddenly I meet your face.

Presences

This night has been so strange that it seemed
As if the hair stood up on my head.
From going-down of the sun I have dreamed
That women laughing, or timid or wild,
In rustle of lace or silken stuff,
Climbed up my creaking stair. They had read
All I had rhymed of that monstrous thing
Returned and yet unrequited love.
They stood in the door and stood between
My great wood lectern and the fire
Till I could hear their hearts beating:
One is a harlot, and one a child
That never looked upon man with desire,
And one it may be a queen.

The Balloon of the Mind

Hands, do what you’re bid;
Bring the balloon of the mind
That bellies and drags in the wind
Into its narrow shed.

To a Squirrel at Kyle-na-gno

Come play with me;
Why should you run
Through the shaking tree
As though I’d a gun
To strike you dead?
When all I would do
Is to scratch your head
And let you go.

On Being Asked for a War Poem

I think it better that in times like these
A poet keep his mouth shut, 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.

In Memory of Alfred Pollexfen

Five-and-twenty years have gone
Since old William Pollexfen
Laid his strong bones down in death
By his wife Elizabeth
In the grey stone tomb he made.
And after twenty years they laid
In that tomb by him and her,
His son George, the astrologer;
And Masons drove from miles away
To scatter the Acacia spray
Upon a melancholy man
Who had ended where his breath began.
Many a son and daughter lies
Far from the customary skies,
The Mall and Eades’s grammar school,
In London or in Liverpool;
But where is laid the sailor John?
That so many lands had known:
Quiet lands or unquiet seas
Where the Indians trade or Japanese.
He never found his rest ashore,
Moping for one voyage more.
Where have they laid the sailor John?
And yesterday the youngest son,
A humorous, unambitious man,
Was buried near the astrologer;
And are we now in the tenth year?
Since he, who had been contented long,
A nobody in a great throng,
Decided he would journey home,
Now that his fiftieth year had come,
And “Mr. Alfred” be again
Upon the lips of common men
Who carried in their memory
His childhood and his family.
At all these death-beds women heard
A visionary white sea-bird
Lamenting that a man should die;
And with that cry I have raised my cry.

Upon a Dying Lady

I

Her Courtesy

With the old kindness, the old distinguished grace
She lies, her lovely piteous head amid dull red hair
Propped upon pillows, rouge on the pallor of her face.
She would not have us sad because she is lying there,
And when she meets our gaze her eyes are laughter-lit,
Her speech a wicked tale that we may vie with her
Matching our broken-hearted wit against her wit,
Thinking of saints and of Petronius Arbiter.

II

Certain Artists Bring Her Dolls and Drawings

Bring where our Beauty lies
A new modelled doll, or drawing,
With a friend’s or an enemy’s
Features, or maybe showing
Her features when a tress
Of dull red hair was flowing
Over some silken dress
Cut in the Turkish fashion,
Or it may be like a boy’s.
We have given the world our passion,
We have naught for death but toys.

III

She Turns the Dolls’ Faces to the Wall

Because to-day is some religious festival
They had a priest say Mass, and even the Japanese,
Heel up and weight on toe, must face the wall
—Pedant in passion, learned in old courtesies,
Vehement and witty she had seemed⁠—; the Venetian lady
Who had seemed to glide to some intrigue in her red shoes,
Her domino, her panniered skirt copied from Longhi;
The meditative critic; all are on their toes,
Even our Beauty with her Turkish trousers on.
Because the priest must have like every dog his day
Or keep us all awake with baying at the moon,
We and our dolls being but the world were best away.

IV

The End of Day

She is playing like a child
And penance is the play,
Fantastical and wild
Because the end of day
Shows her that some one soon
Will come from the house, and say⁠—
Though play is but half-done⁠—
“Come in and leave the play.”⁠—

V

Her Race

She has not grown uncivil
As narrow natures would
And called the pleasures evil
Happier days thought good;
She knows herself a woman
No red and white of a face,
Or rank, raised from a common
Unreckonable race;
And how should her heart fail her
Or sickness break her will
With her dead brother’s valour
For an example still.

VI

Her Courage

When her soul flies to the predestined dancing-place
(I have no speech but symbol, the pagan speech I made
Amid the dreams of youth) let her come face to face,
Amid that first astonishment, with Grania’s shade
All but the perils of the woodland flight forgot
That made her Dermuid dear, and some old cardinal
Pacing with half-closed eyelids in a sunny spot
Who had murmured of Giorgione at his latest breath⁠—
Aye and Achilles, Timor, Babar, Barhaim all
Who have lived in joy and laughed into the face of Death.

VII

Her Friends Bring Her a Christmas Tree

Pardon great enemy,
Without an angry thought
We’ve carried in our tree,
And here and there have bought
Till all the boughs are gay,
And she may look from the bed
On pretty things that may
Please a fantastic head.
Give her a little grace,
What if a laughing eye
Have looked into your face⁠—
It is about to die.

Ego Dominus Tuus

Hic	On the grey sand beside the shallow stream Under your old wind-beaten tower, where still A lamp burns on beside the open book That Michael Robartes left, you walk in the moon And though you have passed the best of life still trace Enthralled by the unconquerable delusion Magical shapes.
Ille	By the help of an image I call to my own opposite, summon all That I have handled least, least looked upon.
Hic	And I would find myself and not an image.
Ille	That is our modern hope and by its light We have lit upon the gentle, sensitive mind And lost the old nonchalance of the hand; Whether we have chosen chisel, pen or brush We are but critics, or but half create Timid, entangled, empty and abashed Lacking the countenance of our friends.
Hic	And yet The chief imagination of Christendom Dante Alighieri so utterly found himself That he has made that hollow face of his More plain to the mind’s eye than any face But that of Christ.
Ille	And did he find himself, Or was the hunger that had made it hollow A hunger for the apple on the bough Most out of reach? and is that spectral image The man that Lapo and that Guido knew? I think he fashioned from his opposite An image that might have been a stony face, Staring upon a bedouin’s horse-hair roof From doored and windowed cliff, or half upturned Among the coarse grass and the camel dung. He set his chisel to the hardest stone. Being mocked by Guido for his lecherous life, Derided and deriding, driven out To climb that stair and eat that bitter bread, He found the unpersuadable justice, he found The most exalted lady loved by a man.
Hic	Yet surely there are men who have made their art Out of no tragic war, lovers of life, Impulsive men that look for happiness And sing when they have found it.
Ille	No not sing, For those that love the world serve it in action, Grow rich, popular and full of influence, And should they paint or write still it is action: The struggle of the fly in marmalade. The rhetorician would deceive his neighbours, The sentimentalist himself; while art Is but a vision of reality. What portion in the world can the artist have Who has awakened from the common dream But dissipation and despair?
Hic	And yet No one denies to Keats love of the world; Remember his deliberate happiness.
Ille	His art is happy but who knows his mind? I see a schoolboy when I think of him With face and nose pressed to a sweet-shop window, For certainly he sank into his grave His senses and his heart unsatisfied, And made⁠—being poor, ailing and ignorant, Shut out from all the luxury of the world, The coarse-bred son of a livery stable-keeper⁠— Luxuriant song.
Hic	Why should you leave the lamp Burning alone beside an open book, And trace these characters upon the sands? A style is found by sedentary toil And by the imitation of great masters.
Ille	Because I seek an image not a book. Those men that in their writings are most wise Own nothing but their blind, stupefied hearts. I call to the mysterious one who yet Shall walk the wet sands by the edge of the stream And look most like me, being indeed my double, And prove of all imaginable things The most unlike, being my anti-self, And standing by these characters disclose All that I seek; and whisper it as though He were afraid the birds, who cry aloud Their momentary cries before it is dawn, Would carry it away to blasphemous men.

A Prayer on Going Into My House

God grant a blessing on this tower and cottage
And on my heirs, if all remain unspoiled,
No table, or chair or stool not simple enough
For shepherd lads in Galilee; and grant
That I myself for portions of the year
May handle nothing and set eyes on nothing
But what the great and passionate have used
Throughout so many varying centuries.
We take it for the norm; yet should I dream
Sinbad the sailor’s brought a painted chest,
Or image, from beyond the Loadstone Mountain
That dream is a norm; and should some limb of the devil
Destroy the view by cutting down an ash
That shades the road, or setting up a cottage
Planned in a government office, shorten his life,
Manacle his soul upon the Red Sea bottom.

The Phases of the Moon22

	An old man cocked his ear upon a bridge; He and his friend, their faces to the South, Had trod the uneven road. Their boots were soiled, Their Connemara cloth worn out of shape; They had kept a steady pace as though their beds, Despite a dwindling and late risen moon, Were distant. An old man cocked his ear.
Aherne	What made that sound?
Robartes	A rat or water-hen Splashed, or an otter slid into the stream. We are on the bridge; that shadow is the tower, And the light proves that he is reading still. He has found, after the manner of his kind, Mere images; chosen this place to live in Because, it may be, of the candle light From the far tower where Milton’s platonist Sat late, or Shelley’s visionary prince: The lonely light that Samuel Palmer engraved, An image of mysterious wisdom won by toil; And now he seeks in book or manuscript What he shall never find.
Aherne	Why should not you Who know it all ring at his door, and speak Just truth enough to show that his whole life Will scarcely find for him a broken crust Of all those truths that are your daily bread; And when you have spoken take the roads again?
Robartes	He wrote of me in that extravagant style He had learnt from Pater, and to round his tale Said I was dead; and dead I choose to be.
Aherne	Sing me the changes of the moon once more; True song, though speech: “mine author sung it me.”
Robartes	Twenty-and-eight the phases of the moon, The full and the moon’s dark and all the crescents, Twenty-and-eight, and yet but six-and-twenty The cradles that a man must needs be rocked in: For there’s no human life at the full or the dark. From the first crescent to the half, the dream But summons to adventure and the man Is always happy like a bird or a beast; But while the moon is rounding towards the full He follows whatever whim’s most difficult Among whims not impossible, and though scarred As with the cat-o’-nine-tails of the mind, His body moulded from within his body Grows comelier. Eleven pass, and then Athenae takes Achilles by the hair, Hector is in the dust, Nietzsche is born, Because the heroes’ crescent is the twelfth. And yet, twice born, twice buried, grow he must, Before the full moon, helpless as a worm. The thirteenth moon but sets the soul at war In its own being, and when that war’s begun There is no muscle in the arm; and after Under the frenzy of the fourteenth moon The soul begins to tremble into stillness, To die into the labyrinth of itself!
Aherne	Sing out the song; sing to the end, and sing The strange reward of all that discipline.
Robartes	All thought becomes an image and the soul Becomes a body: that body and that soul Too perfect at the full to lie in a cradle, Too lonely for the traffic of the world: Body and soul cast out and cast away Beyond the visible world.
Aherne	All dreams of the soul End in a beautiful man’s or woman’s body.
Robartes	Have you not always known it?
Aherne	The song will have it That those that we have loved got their long fingers From death, and wounds, or on Sinai’s top, Or from some bloody whip in their own hands. They ran from cradle to cradle till at last Their beauty dropped out of the loneliness Of body and soul.
Robartes	The lovers’ heart knows that.
Aherne	It must be that the terror in their eyes Is memory or foreknowledge of the hour When all is fed with light and heaven is bare.
Robartes	When the moon’s full those creatures of the full Are met on the waste hills by country men Who shudder and hurry by: body and soul Estranged amid the strangeness of themselves, Caught up in contemplation, the mind’s eye Fixed upon images that once were thought, For separate, perfect, and immovable Images can break the solitude Of lovely, satisfied, indifferent eyes.
	And thereupon with aged, high-pitched voice Aherne laughed, thinking of the man within, His sleepless candle and laborious pen.
Robartes	And after that the crumbling of the moon. The soul remembering its loneliness Shudders in many cradles; all is changed, It would be the world’s servant, and as it serves, Choosing whatever task’s most difficult Among tasks not impossible, it takes Upon the body and upon the soul The coarseness of the drudge.
Aherne	Before the full It sought itself and afterwards the world.
Robartes	Because you are forgotten, half out of life, And never wrote a book your thought is clear. Reformer, merchant, statesman, learned man, Dutiful husband, honest wife by turn, Cradle upon cradle, and all in flight and all Deformed because there is no deformity But saves us from a dream.
Aherne	And what of those That the last servile crescent has set free?
Robartes	Because all dark, like those that are all light, They are cast beyond the verge, and in a cloud, Crying to one another like the bats; And having no desire they cannot tell What’s good or bad, or what it is to triumph At the perfection of one’s own obedience; 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
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

Preface to Michael Robartes and the Dancer

A few of these poems may be difficult to understand, perhaps more difficult than I know. Goethe has said that the poet needs all philosophy, but that he must keep it out of his work. After the first few poems I came into possession of Michael Robartes’ exposition of the Speculum Angelorum et Hominum of Geraldus, and in the excitement of arranging and editing could no more keep out philosophy than could Goethe himself at certain periods of his life. I have tried to make understanding easy by a couple of notes, which are at any rate much shorter than those Dante wrote on certain of his odes in the Convito, but I may not have succeeded. It is hard for a writer, who has spent much labour upon his style, to remember that thought, which seems to him natural and logical like that style, may be unintelligible to others. The first excitement over, and the thought changed into settled conviction, his interest in simple, that is to say in normal emotion, is always I think increased; he is no longer looking for candlestick and matches but at the objects in the room.

I have given no account of Robartes himself, nor of his discovery of the explanation of Geraldus’ diagrams and pictures in the traditional knowledge of a certain obscure Arab tribe, for I hope that my selection from the great mass of his letters and table talk, which I owe to his friend John Aherne, may be published before, or at any rate but soon after this little book, which, like all hand-printed books will take a long time for the setting up and printing off and for the drying of the pages.

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
What ever had been said, sighed, sung,
Howled, miau-d, barked, brayed, belled, yelled, cried, crowed,
Thereon explained: “A cockerel
Cried 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 the ground,
Nor any human sight within it
But the crushed grass where we have lain;
And the moon is wilder every minute.
Oh, Solomon! let us try again.”

An Image from a Past Life23

He	Never until this night have I been stirred. The elaborate star-light has thrown reflections 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 An image up, or anything Even to eyes that beauty had driven mad, But images to make me fonder.
She	Now she has thrown her arms above her head; Whether she threw them up to flout me, Or but to find, Now that no fingers bind, That her hair streams upon the wind, I do not know, that know I am afraid Of the hovering thing night brought me.

Under Saturn

Do not because this day I have grown saturnine
Imagine that lost love, inseparable from my thought
Because I have no other youth, can make me pine;
For how should I forget the wisdom that you brought,
The comfort that you made? Although my wits have gone
On a fantastic ride, my horse’s flanks were spurred
By childish memories of an old cross Pollexfen,
And of a Middleton, whose name you never heard,
And of a red-haired Yeats whose looks, although he died
Before my time, seem like a vivid memory.
You heard that labouring man who had served my people. He said
Upon the open road, near to the Sligo quay⁠—
No, no, not said, but cried it out⁠—“You have come again
And surely after twenty years it was time to come.”
I am thinking of a child’s vow sworn in vain
Never to leave that valley his fathers called their home.

Easter, 1916

I have met them at close of day
Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses.
I have passed with a nod of the head
Or polite meaningless words,
Or have lingered awhile and said
Polite meaningless words,
And thought before I had done
Of a mocking tale or a gibe
To please a companion
Around the fire at the club,
Being certain that they and I
But lived where motley is worn:
All changed, changed utterly:
A terrible beauty is born.

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 winged 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,
So daring and sweet his thought.
This other man I had dreamed
A drunken, vain-glorious 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.

Hearts with one purpose alone
Through summer and winter seem
Enchanted to a stone
To trouble the living stream.
The horse that comes from the road,
The rider, the birds that range
From cloud to tumbling cloud,
Minute by minute they change;
A shadow of cloud on the stream
Changes minute by minute;
A horse-hoof slides on the brim,
And a horse plashes within it
Where long-legged moor-hens dive,
And hens to moor-cocks call.
Minute by minute they live:
The stone’s in the midst of all.

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.

Sixteen Dead Men

O but we talked at large before
The sixteen men were shot,
But who can talk of give and take,
What should be and what not?
While those dead men are loitering there
To stir the boiling pot.

You say that we should still the land
Till Germany’s overcome;
But who is there to argue that
Now Pearse is deaf and dumb?
And is their logic to outweigh
MacDonagh’s bony thumb?

How could you dream they’d listen
That have an ear alone
For those new comrades they have found
Lord Edward and Wolfe Tone,
Or meddle with our give and take
That converse bone to bone.

The Rose Tree

“O words are lightly spoken,”
Said Pearse to Connolly,
“Maybe a breath of politic words
Has withered our Rose Tree;
Or maybe but a wind that blows
Across the bitter sea.”

“It needs to be but watered,”
James Connolly replied,
“To make the green come out again
And spread on every side,
And shake the blossom from the bud
To be the garden’s pride.”

“But where can we draw water,”
Said Pearse to Connolly,
“When all the wells are parched away?
O plain as plain can be
There’s nothing but our own red blood
Can make a right Rose Tree.”

On a Political Prisoner

She that but little patience knew,
From childhood on, had now so much
A grey gull lost its fear and flew
Down to her cell and there alit,
And there endured her fingers’ touch
And from her fingers ate its bit.

Did she in touching that lone wing
Recall the years before her mind
Became a bitter, an abstract thing,
Her thought some popular enmity:
Blind and leader of the blind
Drinking the foul ditch where they lie?

When long ago I saw her ride
Under Ben Bulben to the meet,
The beauty of her country-side
With all youth’s lonely wildness stirred,
She seemed to have grown clean and sweet
Like any rock-bred, sea-borne bird:

Sea-borne, or balanced on the air
When first it sprang out of the nest
Upon some lofty rock to stare
Upon the cloudy canopy,
While under its storm-beaten breast
Cried out the hollows of the sea.

The Leaders of the Crowd

They must to keep their certainty accuse
All that are different of a base intent;
Pull down established honour; hawk for news
Whatever their loose fantasy invent
And murmur it with bated breath, as though
The abounding gutter had been Helicon
Or calumny a song. How can they know
Truth flourishes where the student’s lamp has shone,
And there alone, that have no solitude?
So the crowd come they care not what may come.
They have loud music, hope every day renewed
And heartier loves; that lamp is from the tomb.

Towards Break of Day

Was it the double of my dream
The woman that by me lay
Dreamed, or did we halve a dream
Under the first cold gleam of day?

I thought “there is a waterfall
Upon Ben Bulben side,
That all my childhood counted dear;
Were I to travel far and wide
I could not find a thing so dear.”
My memories had magnified
So many times childish delight.

I would have touched it like a child
But knew my finger could but have touched
Cold stone and water. I grew wild
Even accusing heaven because
It had set down among its laws:
Nothing that we love over-much
Is ponderable to our touch.

I dreamed towards break of day,
The cold blown spray in my nostril.
But she that beside me lay
Had watched in bitterer sleep
The marvellous stag of Arthur,
That lofty white stag, leap
From mountain steep to steep.

Demon and Beast

For certain minutes at the least
That crafty demon and that loud beast
That plague me day and night
Ran out of my sight;
Though I had long pernned in the gyre,
Between my hatred and desire,
I saw my freedom won
And all laugh in the sun.

The glittering eyes in a death’s head
Of old Luke Wadding’s portrait said
Welcome, and the Ormonds all
Nodded upon the wall,
And even Stafford smiled as though
It made him happier to know
I understood his plan.
Now that the loud beast ran
There was no portrait in the Gallery
But beckoned to sweet company,
For all men’s thoughts grew clear
Being dear as mine are dear.

But soon a tear-drop started up
For aimless joy had made me stop
Beside the little lake
To watch a white gull take
A bit of bread thrown up into the air;
Now gyring down and pernning there
He splashed where an absurd
Portly green-pated bird
Shook off the water from his back;
Being no more demoniac
A stupid happy creature
Could rouse my whole nature.

Yet I am certain as can be
That every natural victory
Belongs to beast or demon,
That never yet had freeman
Right mastery of natural things,
And that mere growing old, that brings
Chilled blood, this sweetness brought;
Yet have no dearer thought
Than that I may find out a way
To make it linger half a day.

O what a sweetness strayed
Through barren Thebaid,
Or by the Mareotic sea
When that exultant Anthony
And twice a thousand more
Starved upon the shore
And withered to a bag of bones:
What had the Caesars but their thrones?

The Second Coming24

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,
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.

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,
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,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

A Prayer for My Daughter

Once more the storm is howling and half hid
Under this cradle-hood and coverlid
My child sleeps on. There is no obstacle
But Gregory’s wood and one bare hill
Whereby the haystack and roof-levelling wind,
Bred on the Atlantic, can be stayed;
And for an hour I have walked and prayed
Because of the great gloom that is in my mind.

I have walked and prayed for this young child an hour
And heard the sea-wind scream upon the tower,
And under the arches of the bridge, and scream
In the elms above the flooded stream;
Imagining in excited reverie
That the future years had come,
Dancing to a frenzied drum,
Out of the murderous innocence of the sea.

May she be granted beauty and yet not
Beauty to make a stranger’s eye distraught,
Or hers before a looking-glass, for such,
Being made beautiful overmuch,
Consider beauty a sufficient end,
Lose natural kindness and maybe
The heart-revealing intimacy
That chooses right and never find a friend.

Helen being chosen found life flat and dull
And later had much trouble from a fool,
While that great Queen, that rose out of the spray,
Being fatherless could have her way
Yet chose a bandy-legged smith for man.
It’s certain that fine women eat
A crazy salad with their meat
Whereby the Horn of Plenty is undone.

In courtesy I’d have her chiefly learned;
Hearts are not had as a gift but hearts are earned
By those that are not entirely beautiful;
Yet many, that have played the fool
For beauty’s very self, has charm made wise,
And many a poor man that has roved,
Loved and thought himself beloved,
From a glad kindness cannot take his eyes.

May she become a flourishing hidden tree
That all her thoughts may like the linnet be,
And have no business but dispensing round
Their magnanimities of sound,
Nor but in merriment begin a chase,
Nor but in merriment a quarrel.
Oh, may she live like some green laurel
Rooted in one dear perpetual place.

My mind, because the minds that I have loved,
The sort of beauty that I have approved,
Prosper but little, has dried up of late,
Yet knows that to be choked with hate
May well be of all evil chances chief.
If there’s no hatred in a mind
Assault and battery of the wind
Can never tear the linnet from the leaf.

An intellectual hatred is the worst,
So let her think opinions are accursed.
Have I not seen the loveliest woman born
Out of the mouth of Plenty’s horn,
Because of her opinionated mind
Barter that horn and every good
By quiet natures understood
For an old bellows full of angry wind?

Considering that, all hatred driven hence,
The soul recovers radical innocence
And learns at last that it is self-delighting,
Self-appeasing, self-affrighting.
And that its own sweet will is heaven’s will;
She can, though every face should scowl
And every windy quarter howl
Or every bellows burst, be happy still.

And may her bride-groom bring her to a house
Where all’s accustomed, ceremonious;
For arrogance and hatred are the wares
Peddled in the thoroughfares.
How but in custom and in ceremony
Are innocence and beauty born?
Ceremony’s a name for the rich horn,
And custom for the spreading laurel tree.

A Meditation in Time of War

For one throb of the Artery,
While on that old grey stone I sat
Under the old wind-broken tree,
I knew that One is animate
Mankind inanimate fantasy.

To Be Carved on a Stone at Ballylee

I, the poet William Yeats,
With old mill boards and sea-green slates,
And smithy work from the Gort forge,
Restored this tower for my wife George;
And may these characters remain
When all is ruin once again.

The Tower

Sailing to Byzantium

I

That is no country for old men. The young
In one another’s arms, birds in the trees,
—Those dying generations⁠—at their song,
The salmon-falls, the mackerel-crowded seas,
Fish flesh or fowl, commend all summer long
Whatever is begotten born and dies.
Caught in that sensual music all neglect
Monuments of unaging intellect.

II

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.

III

O sages standing in God’s holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

IV

Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.25

The Tower

I

What shall I do with this absurdity⁠—
O heart, O troubled heart⁠—this caricature,
Decrepit age that has been tied to me
As to a dog’s tail? Never had I more
Excited, passionate, fantastical
Imagination, nor an ear and eye
That more expected the impossible⁠—
No, not in boyhood when with rod and fly,
Or the humbler worm, I climbed Ben Bulben’s back
And had the livelong summer day to spend.
It seems that I must bid the Muse go pack,
Choose Plato and Plotinus for a friend
Until imagination, ear and eye,
Can be content with argument and deal
In abstract things; or be derided by
A sort of battered kettle at the heel.

II26

I pace upon the battlements and stare
On the foundations of a house, or where
Tree, like a sooty finger, starts from the earth;
And send imagination forth
Under the day’s declining beam, and call
Images and memories
From ruin or from ancient trees,
For I would ask a question of them all.

Beyond that ridge lived Mrs. French, and once
When every silver candlestick or sconce
Lit up the dark mahogany and the wine,
A serving man that could divine
That most respected lady’s every wish,
Ran and with the garden shears
Clipped an insolent farmer’s ears
And brought them in a little covered dish.

Some few remembered still when I was young
A peasant girl commended by a song,
Who’d lived somewhere upon that rocky place,
And praised the colour of her face,
And had the greater joy in praising her,
Remembering that, if walked she there,
Farmers jostled at the fair
So great a glory did the song confer.

And certain men, being maddened by those rhymes,
Or else by toasting her a score of times,
Rose from the table and declared it right
To test their fancy by their sight;
But they mistook the brightness of the moon
For the prosaic light of day⁠—
Music had driven their wits astray⁠—
And one was drowned in the great bog of Cloone.

Strange, but the man who made the song was blind,
Yet, now I have considered it, I find
That nothing strange; the tragedy began
With Homer that was a blind man,
And Helen has all living hearts betrayed.
O may the moon and sunlight seem
One inextricable beam,
For if I triumph I must make men mad.

And I myself created Hanrahan
And drove him drunk or sober through the dawn
From somewhere in the neighbouring cottages.
Caught by an old man’s juggleries
He stumbled, tumbled, fumbled to and fro
And had but broken knees for hire
And horrible splendour of desire;
I thought it all out twenty years ago:

Good fellows shuffled cards in an old bawn;
And when that ancient ruffian’s turn was on
He so bewitched the cards under his thumb
That all, but the one card, became
A pack of hounds and not a pack of cards,
And that he changed into a hare.
Hanrahan rose in frenzy there
And followed up those baying creatures towards⁠—

O towards I have forgotten what⁠—enough!
I must recall a man that neither love
Nor music nor an enemy’s clipped ear
Could, he was so harried, cheer;
A figure that has grown so fabulous
There’s not a neighbour left to say
When he finished his dog’s day:
An ancient bankrupt master of this house.

Before that ruin came, for centuries,
Rough men-at-arms, cross-gartered to the knees
Or shod in iron, climbed the narrow stairs,
And certain men-at-arms there were
Whose images, in the Great Memory stored,
Come with loud cry and panting breast
To break upon a sleeper’s rest
While their great wooden dice beat on the board.

As I would question all, come all who can;
Come old, necessitous, half-mounted man;
And bring beauty’s blind rambling celebrant;
The red man the juggler sent
Through God-forsaken meadows; Mrs. French,
Gifted with so fine an ear;
The man drowned in a bog’s mire,
When mocking muses chose the country wench.

Did all old men and women, rich and poor,
Who trod upon these rocks or passed this door,
Whether in public or in secret rage
As I do now against old age?
But I have found an answer in those eyes
That are impatient to be gone;
Go therefore; but leave Hanrahan
For I need all his mighty memories.

Old lecher with a love on every wind
Bring up out of that deep considering mind
All that you have discovered in the grave,
For it is certain that you have
Reckoned up every unforeknown, unseeing
Plunge, lured by a softening eye,
Or by a touch or a sigh,
Into the labyrinth of another’s being;

Does the imagination dwell the most
Upon a woman won or woman lost?
If on the lost, admit you turned aside
From a great labyrinth out of pride,
Cowardice, some silly over-subtle thought
Or anything called conscience once;
And that if memory recur, the sun’s
Under eclipse and the day blotted out.

III27

It is time that I wrote my will;
I choose upstanding men,
That climb the streams until
The fountain leap, and at dawn
Drop their cast at the side
Of dripping stone; I declare
They shall inherit my pride,
The pride of people that were
Bound neither to Cause nor to State,
Neither to slaves that were spat on,
Nor to the tyrants that spat,
The people of Burke and of Grattan
That gave, though free to refuse⁠—
Pride, like that of the morn,
When the headlong light is loose,
Or that of the fabulous horn,
Or that of the sudden shower
When all streams are dry,
Or that of the hour
When the swan must fix his eye
Upon a fading gleam,
Float out upon a long
Last reach of glittering stream
And there sing his last song.
And I declare my faith;
I mock Plotinus’ thought
And cry in Plato’s teeth,
Death and life were not
Till man made up the whole,
Made lock, stock and barrel
Out of his bitter soul,
Aye, sun and moon and star, all,
And further add to that
That, being dead, we rise,
Dream and so create
Translunar Paradise.
I have prepared my peace
With learned Italian things
And the proud stones of Greece,
Poet’s imaginings
And memories of love,
Memories of the words of women,
All those things whereof
Man makes a superhuman,
Mirror-resembling dream.

As at the loophole there,
The daws chatter and scream,
And drop twigs layer upon layer.
When they have mounted up,
The mother bird will rest
On their hollow top,
And so warm her wild nest.

I leave both faith and pride
To young upstanding men
Climbing the mountain side,
That under bursting dawn
They may drop a fly;
Being of that metal made
Till it was broken by
This sedentary trade.

Now shall I make my soul
Compelling it to study
In a learned school
Till the wreck of body,
Slow decay of blood,
Testy delirium
Or dull decrepitude,
Or what worse evil come⁠—
The death of friends, or death
Of every brilliant eye
That made a catch in the breath⁠—
Seem but the clouds of the sky
When the horizon fades;
Or a bird’s sleepy cry
Among the deepening shades.

Meditations in Time of Civil War28

I

Ancestral Houses

Surely among a rich man’s flowering lawns,
Amid the rustle of his planted hills,
Life overflows without ambitious pains;
And rains down life until the basin spills,
And mounts more dizzy high the more it rains
As though to choose whatever shape it wills
And never stoop to a mechanical,
Or servile shape, at others’ beck and call.

Mere dreams, mere dreams! Yet Homer had not sung
Had he not found it certain beyond dreams
That out of life’s own self-delight had sprung
The abounding glittering jet; though now it seems
As if some marvellous empty sea-shell flung
Out of the obscure dark of the rich streams,
And not a fountain, were the symbol which
Shadows the inherited glory of the rich.

Some violent bitter man, some powerful man
Called architect and artist in, that they,
Bitter and violent men, might rear in stone
The sweetness that all longed for night and day,
The gentleness none there had ever known;
But when the master’s buried mice can play,
And maybe the great-grandson of that house,
For all its bronze and marble, ’s but a mouse.

Oh, what if gardens where the peacock strays
With delicate feet upon old terraces,
Or else all Juno from an urn displays
Before the indifferent garden deities;
Oh, what if levelled lawns and gravelled ways
Where slippered Contemplation finds his ease
And Childhood a delight for every sense,
But take our greatness with our violence!

What if the glory of escutcheoned doors,
And buildings that a haughtier age designed,
The pacing to and fro on polished floors
Amid great chambers and long galleries, lined
With famous portraits of our ancestors;
What if those things the greatest of mankind,
Consider most to magnify, or to bless,
But take our greatness with our bitterness!

II

My House

An ancient bridge, and a more ancient tower,
A farmhouse that is sheltered by its wall,
An acre of stony ground,
Where the symbolic rose can break in flower,
Old ragged elms, old thorns innumerable,
The sound of the rain or sound
Of every wind that blows;
The stilted water-hen
Crossing stream again
Scared by the splashing of a dozen cows;

A winding stair, a chamber arched with stone,
A grey stone fireplace with an open hearth,
A candle and written page.
“Il Penseroso”’s Platonist toiled on
In some like chamber, shadowing forth
How the daemonic rage
Imagined everything.
Benighted travellers
From markets and from fairs
Have seen his midnight candle glimmering.

Two men have founded here. A man-at-arms
Gathered a score of horse and spent his days
In this tumultuous spot,
Where through long wars and sudden night alarms
His dwindling score and he seemed cast-a-ways
Forgetting and forgot;
And I, that after me
My bodily heirs may find,
To exalt a lonely mind,
Befitting emblems of adversity.

III

My Table

Two heavy tressels, and a board
Where Sato’s gift, a changeless sword,
By pen and paper lies,
That it may moralise
My days out of their aimlessness.
A bit of an embroidered dress
Covers its wooden sheath.
Chaucer had not drawn breath
When it was forged. In Sato’s house,
Curved like new moon, moon luminous
It lay five hundred years.
Yet if no change appears
No moon; only an aching heart
Conceives a changeless work of art.
Our learned men have urged
That when and where ’twas forged
A marvellous accomplishment,
In painting or in pottery, went
From father unto son
And through the centuries ran
And seemed unchanging like the sword.
Soul’s beauty being most adored,
Men and their business took
The soul’s unchanging look;
For the most rich inheritor,
Knowing that none could pass heaven’s door
That loved inferior art,
Had such an aching heart
That he, although a country’s talk
For silken clothes and stately walk,
Had waking wits; it seemed
Juno’s peacock screamed.

IV

My Descendants

Having inherited a vigorous mind
From my old fathers I must nourish dreams
And leave a woman and a man behind
As vigorous of mind, and yet it seems
Life scarce can cast a fragrance on the wind,
Scarce spread a glory to the morning beams,
But the torn petals strew the garden plot;
And there’s but common greenness after that.

And what if my descendants lose the flower
Through natural declension of the soul,
Through too much business with the passing hour,
Through too much play, or marriage with a fool?
May this laborious stair and this stark tower
Become a roofless ruin that the owl
May build in the cracked masonry and cry
Her desolation to the desolate sky.

The Primum Mobile that fashioned us
Has made the very owls in circles move;
And I, that count myself most prosperous,
Seeing that love and friendship are enough,
For an old neighbour’s friendship chose the house
And decked and altered it for a girl’s love,
And know whatever flourish and decline
These stones remain their monument and mine.

V

The Road at My Door

An affable Irregular,
A heavily built Falstaffan man,
Comes cracking jokes of civil war
As though to die by gunshot were
The finest play under the sun.

A brown Lieutenant and his men,
Half dressed in national uniform,
Stand at my door, and I complain
Of the foul weather, hail and rain,
A pear tree broken by the storm.

I count those feathered balls of soot
The moor-hen guides upon the stream,
To silence the envy in my thought;
And turn towards my chamber, caught
In the cold snows of a dream.

VI29

The Stare’s Nest by My Window

The bees build in the crevices
Of loosening masonry, and there
The mother birds bring grubs and flies.
My wall is loosening; honey-bees
Come build in the empty house of the stare.

We are closed in, and the key is turned
On our uncertainty; somewhere
A man is killed, or a house burned,
Yet no clear fact to be discerned:
Come build in the empty house of the stare.

A barricade of stone or of wood;
Some fourteen days of civil war;
Last night they trundled down the road
That dead young soldier in his blood:
Come build in the empty house of the stare.

We had fed the heart on fantasies,
The heart’s grown brutal from the fare,
More substance in our enmities
Than in our love; oh, honey-bees
Come build in the empty house of the stare.

VII

I See Phantoms of Hatred and of the Heart’s Fullness and of the Coming Emptiness

I climb to the tower top and lean upon broken stone,
A mist that is like blown snow is sweeping over all,
Valley, river, and elms, under the light of a moon
That seems unlike itself, that seems unchangeable,
A glittering sword out of the east. A puff of wind
And those white glimmering fragments of the mist sweep by.
Frenzies bewilder, reveries perturb the mind;
Monstrous familiar images swim to the mind’s eye.

“Vengeance upon the murderers,” the cry goes up,
“Vengeance for Jacques Molay.”30 In cloud-pale rags, or in lace,
The rage driven, rage tormented, and rage hungry troop,
Trooper belabouring trooper, biting at arm or at face,
Plunges towards nothing, arms and fingers spreading wide
For the embrace of nothing; and I, my wits astray
Because of all that senseless tumult, all but cried
For vengeance on the murderers of Jacques Molay.

Their legs long delicate and slender, aquamarine their eyes,
Magical unicorns bear ladies on their backs,
The ladies close their musing eyes. No prophecies,
Remembered out of Babylonian almanacs,
Have closed the ladies’ eyes, their minds are but a pool
Where even longing drowns under its own excess;
Nothing but stillness can remain when hearts are full
Of their own sweetness, bodies of their loveliness.

The cloud-pale unicorns, the eyes of aquamarine,
The quivering half-closed eyelids, the rags of cloud or of lace,
Or eyes that rage has brightened, arms it has made lean,
Give place to an indifferent multitude, give place
To brazen hawks.31 Nor self-delighting reverie,
Nor hate of what’s to come, nor pity for what’s gone,
Nothing but grip of claw, and the eye’s complacency,
The innumerable clanging wings that have put out the moon.

I turn away and shut the door, and on the stair
Wonder how many times I could have proved my worth
In something that all others understand or share;
But oh, ambitious heart had such a proof drawn forth
A company of friends, a conscience set at ease,
It had but made us pine the more. The abstract joy,
The half read wisdom of daemonic images,
Suffice the ageing man as once the growing boy.

Nineteen Hundred and Nineteen

I

Many ingenious lovely things are gone
That seemed sheer miracle to the multitude,
Protected from the circle of the moon
That pitches common things about. There stood
Amid the ornamental bronze and stone
An ancient image made of olive wood⁠—
And gone are Phidias’ famous ivories
And all the golden grasshoppers and bees.

We too had many pretty toys when young;
A law indifferent to blame or praise,
To bribe or threat; habits that made old wrong
Melt down, as it were wax in the sun’s rays;
Public opinion ripening for so long
We thought it would outlive all future days.
O what fine thought we had because we thought
That the worst rogues and rascals had died out.

All teeth were drawn, all ancient tricks unlearned,
And a great army but a showy thing;
What matter that no cannon had been turned
Into a ploughshare; parliament and king
Thought that unless a little powder burned
The trumpeters might burst with trumpeting
And yet it lack all glory; and perchance
The guardsmen’s drowsy chargers would not prance.

Now days are dragon-ridden, the nightmare
Rides upon sleep: a drunken soldiery
Can leave the mother, murdered at her door,
To crawl in her own blood, and go scot-free;
The night can sweat with terror as before
We pieced our thoughts into philosophy,
And planned to bring the world under a rule,
Who are but weasels fighting in a hole.

He who can read the signs nor sink unmanned
Into the half-deceit of some intoxicant
From shallow wits; who knows no work can stand,
Whether health, wealth or peace of mind were spent
On master work of intellect or hand,
No honour leave its mighty monument,
Has but one comfort left: all triumph would
But break upon his ghostly solitude.

But is there any comfort to be found?
Man is in love and loves what vanishes,
What more is there to say? That country round
None dared admit, if such a thought were his,
Incendiary or bigot could be found
To burn that stump on the Acropolis,
Or break in bits the famous ivories
Or traffic in the grasshoppers or bees?

II

When Loie Fuller’s Chinese dancers enwound
A shining web, a floating ribbon of cloth,
It seemed that a dragon of air
Had fallen among dancers, had whirled them round
Or hurried them off on its own furious path;
So the platonic year
Whirls out new right and wrong,
Whirls in the old instead;
All men are dancers and their tread
Goes to the barbarous clangour of gong.

III

Some moralist or mythological poet
Compares the solitary soul to a swan;
I am satisfied with that,
Satisfied if a troubled mirror show it
Before that brief gleam of its life be gone,
An image of its state;
The wings half spread for flight,
The breast thrust out in pride
Whether to play, or to ride
Those winds that clamour of approaching night.

A man in his own secret meditation
Is lost amid the labyrinth that he has made
In art or politics;
Some platonist affirms that in the station
Where we should cast off body and trade
The ancient habit sticks,
And that if our works could
But vanish with our breath
That were a lucky death,
For triumph can but mar our solitude.

The swan has leaped into the desolate heaven:
That image can bring wildness, bring a rage
To end all things, to end
What my laborious life imagined, even
The half imagined, the half written page;
O but we dreamed to mend
Whatever mischief seemed
To afflict mankind, but now
That winds of winter blow
Learn that we were crack-pated when we dreamed.

IV

We, who seven years ago
Talked of honour and of truth,
Shriek with pleasure if we show
The weasel’s twist, the weasel’s tooth.

V

Come let us mock at the great
That had such burdens on the mind
And toiled so hard and late
To leave some monument behind,
Nor thought of the levelling wind.

Come let us mock at the wise;
With all those calendars whereon
They fixed old aching eyes,
They never saw how seasons run,
And now but gape at the sun.

Come let us mock at the good
That fancied goodness might be gay,
And sick of solitude
Might proclaim a holiday:
Wind shrieked⁠—and where are they?

Mock mockers after that
That would not lift a hand maybe
To help good, wise or great
To bar that foul storm out, for we
Traffic in mockery.

VI32

Violence upon the roads: violence of horses;
Some few have handsome riders, are garlanded
On delicate sensitive ear or tossing mane,
But wearied running round and round in their courses
All break and vanish, and evil gathers head:
Herodias’ daughters have returned again
A sudden blast of dusty wind and after
Thunder of feet, tumult of images,
Their purpose in the labyrinth of the wind;
And should some crazy hand dare touch a daughter
All turn with amorous cries, or angry cries,
According to the wind, for all are blind.
But now wind drops, dust settles; thereupon
There lurches past, his great eyes without thought
Under the shadow of stupid straw-pale locks,
That insolent fiend Robert Artisson
To whom the love-lorn Lady Kyteler brought
Bronzed peacock feathers, red combs of her cocks.

The Wheel

Through winter-time we call on spring,
And through the spring on summer call,
And when abounding hedges ring
Declare that winter’s best of all;
And after that there s nothing good
Because the spring-time has not come⁠—
Nor know that what disturbs our blood
Is but its longing for the tomb.

Youth and Age

Much did I rage when young,
Being by the world oppressed,
But now with flattering tongue
It speeds the parting guest.

The New Faces

If you, that have grown old, were the first dead,
Neither catalpa tree nor scented lime
Should hear my living feet, nor would I tread
Where we wrought that shall break the teeth of time.
Let the new faces play what tricks they will
In the old rooms; night can outbalance day,
Our shadows rove the garden gravel still,
The living seem more shadowy than they.

A Prayer for My Son

Bid a strong ghost stand at the head
That my Michael may sleep sound,
Nor cry, nor turn in the bed
Till his morning meal come round;
And may departing twilight keep
All dread afar till morning’s back,
That his mother may not lack
Her fill of sleep.

Bid the ghost have sword in fist:
Some there are, for I avow
Such devilish things exist,
Who have planned his murder for they know
Of some most haughty deed or thought
That waits upon his future days,
And would through hatred of the bays
Bring that to nought.

Though You can fashion everything
From nothing every day, and teach
The morning stars to sing,
You have lacked articulate speech
To tell Your simplest want, and known,
Wailing upon a woman’s knee,
All of that worst ignominy
Of flesh and bone;

And when through all the town there ran
The servants of Your enemy,
A woman and a man,
Unless the Holy Writings lie,
Hurried through the smooth and rough
And through the fertile and waste,
Protecting, till the danger past,
With human love.

Wisdom

The true faith discovered was
When painted panel, statuary,
Glass-mosaic, window-glass,
Straightened all that went awry
When some peasant gospeller
Imagined Him upon the floor
Of a working-carpenter.
Miracle had its playtime where
In damask clothed and on a seat,
Chryselephantine, cedar boarded,
His majestic Mother sat
Stitching at a purple hoarded,
That He might be nobly breeched,
In starry towers of Babylon
Noah’s freshet never reached.
King Abundance got Him on
Innocence; and Wisdom He.
That cognomen sounded best
Considering what wild infancy
Drove horror from His Mother’s breast.

Leda and the Swan

A sudden blow: the great wings beating still
Above the staggering girl, her thighs caressed
By the dark webs, her nape caught in his bill,
He holds her helpless breast upon his breast.

How can those terrified vague fingers push
The feathered glory from her loosening thighs?
And how can body, laid in that white rush
But feel the strange heart beating where it lies?

A shudder in the loins engenders there
The broken wall, the burning roof and tower
And Agamemnon dead. Being so caught up,
So mastered by the brute blood of the air,
Did she put on his knowledge with his power
Before the indifferent beak could let her drop?

On a Picture of a Black Centaur

Your hooves have stamped at the black margin of the wood,
Even where horrible green parrots call and swing.
My works are all stamped down into the sultry mud.
I knew that horse play, knew it for a murderous thing.
What wholesome sun has ripened is wholesome food to eat
And that alone; yet I, being driven half insane
Because of some green wing, gathered old mummy wheat
In the mad abstract dark and ground it grain by grain
And after baked it slowly in an oven; but now
I bring full flavoured wine out of a barrel found
Where seven Ephesian topers slept and never knew
When Alexander’s empire passed, they slept so sound.
Stretch out your limbs and sleep a long Saturnian sleep;
I have loved you better than my soul for all my words,
And there is none so fit to keep a watch and keep
Unwearied eyes upon those horrible green birds.

Among School Children

I

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.

III

And thinking of that fit of grief or rage
I look upon one child or t’other there
And wonder if she stood so at that age⁠—
For even daughters of the swan can share
Something of every paddler’s heritage⁠—
And had that colour upon cheek or hair
And thereupon my heart is driven wild:
She stands before me as a living child.

IV

Her present image floats in to the mind⁠—
Did quattrocento finger fashion it
Hollow of cheek as though it drank the wind
And took a mass of shadows for its meat?
And I though never of Ledaean kind
Had pretty plumage once⁠—enough of that,
Better to smile on all that smile, and show
There is a comfortable kind of old scarecrow.

V

What youthful mother, a shape upon her lap
Honey of generation33 had betrayed,
And that must sleep, shriek, struggle to escape
As recollection or the drug decide,
Would think her son, did she but see that shape
With sixty or more winters on its head,
A compensation for the pang of his birth,
Or the uncertainty of his setting forth?

VI

Plato thought nature but a spume that plays
Upon a ghostly paradigm of things;
Solider Aristotle played the taws
Upon the bottom of a king of kings;
World-famous golden-thighed Pythagoras
Fingered upon a fiddle stick or strings
What a star sang and careless Muses heard:
Old clothes upon old sticks to scare a bird.

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;

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?

Colonus’ Praise

From Oedipus at Colonus

Chorus

Come praise Colonus’ horses and come praise
The wine dark of the wood’s intricacies,
The nightingale that deafens daylight there,
If daylight ever visit where,
Unvisited by tempest or by sun,
Immortal ladies tread the ground
Dizzy with harmonious sound,
Semele’s lad a gay companion.

And yonder in the gymnasts’ garden thrives
The self-sown, self-begotten shape that gives
Athenian intellect its mastery,
Even the grey-leaved olive tree
Miracle-bred out of the living stone;
Nor accident of peace nor war
Shall wither that old marvel, for
The great grey-eyed Athene stares thereon.

Who comes into this country, and has come
Where golden crocus and narcissus bloom,
Where the Great Mother, mourning for her daughter
And beauty-drunken by the water
Glittering among grey-leaved olive trees,
Has plucked a flower and sung her loss;
Who finds abounding Cephisus
Has found the loveliest spectacle there is.

Because this country has a pious mind
And so remembers that when all mankind
But trod the road, or paddled by the shore,
Poseidon gave it bit and oar,
Every Colonus lad or lass discourses
Of that oar and of that bit;
Summer and winter, day and night,
Of horses and horses of the sea, white horses.

The Hero, the Girl and the Fool

The Girl	I rage at my own image in the glass, That’s so unlike myself that when you praise it It is as though you praised another, or even Mocked me with praise of my mere opposite; And when I wake towards morn I dread myself For the heart cries that what deception wins Cruelty must keep; therefore be warned and go If you have seen that image and not the woman.
The Hero	I have raged at my own strength because you have loved it.
The Girl	If you are no more strength than I am beauty I had better find a convent and turn nun; A nun at least has all men’s reverence And needs no cruelty.
The Hero	I have heard one say That men have reverence for their holiness And not themselves.
The Girl	Say on and say That only God has loved us for ourselves, But what care I that long for a man’s love?
The Fool by the Roadside	When my days that have From cradle run to grave From grave to cradle run instead; When thoughts that a fool Has wound upon a spool Are but loose thread, are but loose thread. When cradle and spool are past And I mere shade at last Coagulate of stuff Transparent like the wind, I think that I may find A faithful love, a faithful love.

Owen Ahern and His Dancers

I

A strange thing surely that my heart when love had come unsought
Upon the Norman upland or in that poplar shade,
Should find no burden but itself and yet should be worn out.
It could not bear that burden and therefore it went mad.

The south wind brought it longing, and the east wind despair,
The west wind made it pitiful, and the north wind afraid.
It feared to give its love a hurt with all the tempest there;
It feared the hurt that she could give and therefore it went mad.

I can exchange opinion with any neighbouring mind,
I have as healthy flesh and blood as any rhymer’s had,
But oh my Heart could bear no more when the upland caught the wind;
I ran, I ran, from my love’s side because my Heart went mad.

II

The Heart behind its rib laughed out, “You have called me mad,” it said.
“Because I made you turn away and run from that young child;
How could she mate with fifty years that was so wildly bred?
Let the cage bird and the cage bird mate and the wild bird mate in the wild.”

“You but imagine lies all day, O murderer,” I replied.
“And all those lies have but one end poor wretches to betray;
I did not find in any cage the woman at my side.
O but her heart would break to learn my thoughts are far away.”

“Speak all your mind,” my Heart sang out, “speak all your mind; who cares,
Now that your tongue cannot persuade the child till she mistake
Her childish gratitude for love and match your fifty years.
O let her choose a young man now and all for his wild sake.”

A Man Young and Old

First Love

Though nurtured like the sailing moon
In beauty’s murderous brood,
She walked awhile and blushed awhile
And on my pathway stood
Until I thought her body bore
A heart of flesh and blood.

But since I laid a hand thereon
And found a heart of stone
I have attempted many things
And not a thing is done,
For every hand is lunatic
That travels on the moon.

She smiled and that transfigured me
And left me but a lout,
Maundering here, and maundering there,
Emptier of thought
Than heavenly circuit of its stars
When the moon sails out.

Human Dignity

Like the moon her kindness is,
If kindness I may call
What has no comprehension in’t,
But is the same for all
As though my sorrow were a scene
Upon a painted wall.

So like a bit of stone I lie
Under a broken tree.
I could recover if I shrieked
My heart’s agony
To passing bird, but I am dumb
From human dignity.

The Mermaid

A mermaid found a swimming lad,
Picked him for her own,
Pressed her body to his body,
Laughed; and plunging down
Forgot in cruel happiness
That even lovers drown.

The Death of the Hare

I have pointed out the yelling pack,
The hare leap to the wood,
And when I pass a compliment
Rejoice as lover should
At the drooping of an eye
At the mantling of the blood.

Then suddenly my heart is wrung
By her distracted air
And I remember wildness lost
And after, swept from there,
Am set down standing in the wood
At the death of the hare.

The Empty Cup

A crazy man that found a cup,
When all but dead of thirst,
Hardly dared to wet his mouth
Imagining, moon accursed,
That another mouthful
And his beating heart would burst.
October last I found it too
But found it dry as bone,
And for that reason am I crazed
And my sleep is gone.

His Memories

We should be hidden from their eyes,
Being but holy shows
And bodies broken like a thorn
Whereon the bleak north blows,
To think of buried Hector
And that none living knows.

The women take so little stock
In what I do or say
They’d sooner leave their cosseting
To hear a jackass bray;
My arms are like the twisted thorn
And yet there beauty lay;

The first of all the tribe lay there
And did such pleasure take⁠—
She who had brought great Hector down
And put all Troy to wreck⁠—
That she cried into this ear
Strike me if I shriek.

Summer and Spring

We sat under an old thorn-tree
And talked away the night,
Told all that had been said or done
Since first we saw the light,
And when we talked of growing up
Knew that we’d halved a soul
And fell the one in t’other’s arms
That we might make it whole;
Then Peter had a murdering look
For it seemed that he and she
Had spoken of their childish days
Under that very tree.
O what a bursting out there was,
And what a blossoming,
When we had all the summer time
And she had all the spring.

The Secrets of the Old

I have old women’s secrets now
That had those of the young;
Madge tells me what I dared not think
When my blood was strong,
And what had drowned a lover once
Sounds like an old song.

Though Margery is stricken dumb
If thrown in Madge’s way,
We three make up a solitude;
For none alive to-day
Can know the stories that we know
Or say the things we say:

How such a man pleased women most
Of all that are gone,
How such a pair loved many years
And such a pair but one,
Stories of the bed of straw
Or the bed of down.

His Wildness

O bid me mount and sail up there
Amid the cloudy wrack,
For Peg and Meg and Paris’ love
That had so straight a back,
Are gone away, and some that stay,
Have changed their silk for sack.

Were I but there and none to hear
I’d have a peacock cry
For that is natural to a man
That lives in memory,
Being all alone I’d nurse a stone
And sing it lullaby.

The Three Monuments

They hold their public meetings where
Our most renowned patriots stand,
One among the birds of the air,
A stumpier on either hand;
And all the popular statesmen say
That purity built up the state
And after kept it from decay;
Admonish us to cling to that
And let all base ambition be,
For intellect would make us proud
And pride bring in impurity:
The three old rascals laugh aloud.

From Oedipus at Colonus

I

Endure what life God gives and ask no longer span;
Cease to remember the delights of youth, travel-wearied aged man;
Delight becomes death-longing if all longing else be vain.

II

Even from that delight memory treasures so,
Death, despair, division of families, all entanglements of mankind grow,
As that old wandering beggar and these God-hated children know.

III

In the long echoing street the laughing dancers throng,
The bride is carried to the bridegroom’s chamber through torchlight and tumultuous song;
I celebrate the silent kiss that ends short life or long.

IV

Never to have lived is best, ancient writers say;
Never to have drawn the breath of life, never to have looked into the eye of day;
The second best’s a gay goodnight and quickly turn away.

The Gift of Harun-al-Rashid34

Kusta ben Luka is my name, I write
To Abd al-Rabban; fellow roysterer once,
Now the good Caliph’s learned Treasurer,
And for no ear but his. Carry this letter
Through the great gallery of the Treasure House
Where banners of the Caliphs hang, night-coloured
But brilliant as the night’s embroidery,
And wait war’s music; pass the little gallery;
Pass books of learning from Byzantium
Written in gold upon a purple stain,
And pause at last, I was about to say,
At the great book of Sappho’s song; but no,
For should you leave my letter there, a boy’s
Love-lorn, indifferent hands might come upon it
And let it fall unnoticed to the floor.
Pause at the Treatise of Parmenides
And hide it there, for Caliphs to world’s end
Must keep that perfect, as they keep her song
So great its fame. When fitting time has passed
The parchment will disclose to some learned man
A mystery that else had found no chronicler
But the wild Bedouin. Though I approve
Those wanderers that welcomed in their tents
What great Harun al-Rashid, occupied
With Persian embassy or Grecian war,
Must needs neglect; I cannot hide the truth
That wandering in a desert, featureless
As air under a wing, can give birds’ wit.
In after time they will speak much of me
And speak but fantasy. Recall the year
When our beloved Caliph put to death
His Vizir Jaffer for an unknown reason;
“If but the shirt upon my body knew it
I’d tear it off and throw it in the fire.”
That speech was all that the town knew, but he
Seemed for a while to have grown young again;
Seemed so on purpose, muttered Jaffer’s friends,
That none might know that he was conscience struck⁠—
But that’s a traitor’s thought. Enough for me
That in the early summer of the year
The mightiest of the princes of the world
Came to the least considered of his courtiers;
Sat down upon the fountain’s marble edge
One hand amid the goldfish in the pool;
And thereupon a colloquy took place
That I commend to all the chroniclers
To show how violent great hearts can lose
Their bitterness and find the honey-comb.
“I have brought a slender bride into the house;
You know the saying ‘Change the bride with Spring,’
And she and I, being sunk in happiness,
Cannot endure to think you tread these paths,
When evening stirs the jasmine, and yet
Are brideless.” “I am falling into years.”

“But such as you and I do not seem old
Like men who live by habit. Every day
I ride with falcon to the river’s edge
Or carry the ringed mail upon my back,
Or court a woman; neither enemy,
Game-bird, nor woman does the same thing twice;
And so a hunter carries in the eye
A mimicry of youth. Can poet’s thought
That springs from body and in body falls
Like this pure jet, now lost amid blue sky
Now bathing lily leaf and fishes’ scale,
Be mimicry?” “What matter if our souls
Are nearer to the surface of the body
Than souls that start no game and turn no rhyme!
The soul’s own youth and not the body’s youth
Shows through our lineaments. My candle’s bright,
My lantern is too loyal not to show
That it was made in your great father’s reign.”

“And yet the jasmine season warms our blood.”

“Great prince, forgive the freedom of my speech;
You think that love has seasons, and you think
That if the spring bear off what the spring gave
The heart need suffer no defeat; but I
Who have accepted the Byzantine faith,
That seems unnatural to Arabian minds,
Think when I choose a bride I choose for ever;
And if her eye should not grow bright for mine
Or brighten only for some younger eye,
My heart could never turn from daily ruin,
Nor find a remedy.” “But what if I
Have lit upon a woman, who so shares
Your thirst for those old crabbed mysteries,
So strains to look beyond our life, an eye
That never knew that strain would scarce seem bright,
And yet herself can seem youth’s very fountain,
Being all brimmed with life.” “Were it but true
I would have found the best that life can give,
Companionship in those mysterious things
That make a man’s soul or a woman’s soul
Itself and not some other soul.” “That love
Must needs be in this life and in what follows
Unchanging and at peace, and it is right
Every philosopher should praise that love.
But I being none can praise its opposite.
It makes my passion stronger but to think
Like passion stirs the peacock and his mate,
The wild stag and the doe; that mouth to mouth
Is a man’s mockery of the changeless soul.”
And thereupon his bounty gave what now
Can shake more blossom from autumnal chill
Than all my bursting springtime knew. A girl
Perched in some window of her mother’s house
Had watched my daily passage to and fro;
Had heard impossible history of my past;
Imagined some impossible history
Lived at my side; thought time’s disfiguring touch
Gave but more reason for a woman’s care.
Yet was it love of me, or was it love
Of the stark mystery that has dazed my sight,
Perplexed her fantasy and planned her care?
Or did the torchlight of that mystery
Pick out my features in such light and shade
Two contemplating passions chose one theme
Through sheer bewilderment? She had not paced
The garden paths, nor counted up the rooms,
Before she had spread a book upon her knees
And asked about the pictures or the text;
And often those first days I saw her stare
On old dry writing in a learned tongue,
On old dry faggots that could never please
The extravagance of spring; or move a hand
As if that writing or the figured page
Were some dear cheek. Upon a moonless night
I sat where I could watch her sleeping form,
And wrote by candle-light; but her form moved,
And fearing that my light disturbed her sleep
I rose that I might screen it with a cloth.
I heard her voice, “Turn that I may expound
What’s bowed your shoulder and made pale your cheek”;
And saw her sitting upright on the bed;
Or was it she that spoke or some great Djinn?
I say that a Djinn spoke. A live-long hour
She seemed the learned man and I the child;
Truths without father came, truths that no book
Of all the uncounted books that I have read,
Nor thought out of her mind or mine begot,
Self-born, high-born, and solitary truths,
Those terrible implacable straight lines
Drawn through the wandering vegetative dream,
Even those truths that when my bones are dust
Must drive the Arabian host. The voice grew still,
And she lay down upon her bed and slept,
But woke at the first gleam of day, rose up
And swept the house and sang about her work
In childish ignorance of all that passed.
A dozen nights of natural sleep, and then
When the full moon swam to its greatest height
She rose, and with her eyes shut fast in sleep
Walked through the house. Unnoticed and unfelt
I wrapped her in a heavy hooded cloak, and she,
Half running, dropped at the first ridge of the desert
And there marked out those emblems on the sand
That day by day I study and marvel at,
With her white finger. I led her home asleep
And once again she rose and swept the house
In childish ignorance of all that passed.
Even to-day, after some seven years
When maybe thrice in every moon her mouth
Murmured the wisdom of the desert Djinns,
She keeps that ignorance, nor has she now
That first unnatural interest in my books.
It seems enough that I am there; and yet
Old fellow student, whose most patient ear
Heard all the anxiety of my passionate youth,
It seems I must buy knowledge with my peace.
What if she lose her ignorance and so
Dream that I love her only for the voice,
That every gift and every word of praise
Is but a payment for that midnight voice
That is to age what milk is to a child!
Were she to lose her love, because she had lost
Her confidence in mine, or even lose
Its first simplicity, love, voice and all,
All my fine feathers would be plucked away
And I left shivering. The voice has drawn
A quality of wisdom from her love’s
Particular quality. The signs and shapes;
All those abstractions that you fancied were
From the great treatise of Parmenides;
All, all those gyres and cubes and midnight things
Are but a new expression of her body
Drunk with the bitter sweetness of her youth.
And now my utmost mystery is out.
A woman’s beauty is a storm-tossed banner;
Under it wisdom stands, and I alone⁠—
Of all Arabia’s lovers I alone⁠—
Nor dazzled by the embroidery, nor lost
In the confusion of its night-dark folds,
Can hear the armed man speak.

All Souls’ Night

An Epilogue to A Vision

Midnight has come and the great Christ Church Bell,
And may a lesser bell, sound through the room;
And it is All Souls’ Night,
And two long glasses brimmed with muscatel
Bubble upon the table. A ghost may come;
For it is a ghost’s right,
His element is so fine
Being sharpened by his death,
To drink from the wine-breath
While our gross palates drink from the whole wine.

I need some mind that, if the cannon sound
From every quarter of the world, can stay
Wound in mind’s pondering,
As mummies in the mummy-cloth are wound;
Because I have a marvellous thing to say,
A certain marvellous thing
None but the living mock,
Though not for sober ear;
It may be all that hear
Should laugh and weep an hour upon the clock.

H⁠⸺’s the first I call. He loved strange thought
And knew that sweet extremity of pride
That’s called platonic love,
And that to such a pitch of passion wrought
Nothing could bring him, when his lady died,
Anodyne for his love.
Words were but wasted breath;
One dear hope had he:
The inclemency
Of that or the next winter would be death.

Two thoughts were so mixed up I could not tell
Whether of her or God he thought the most,
But think that his mind’s eye,
When upward turned, on one sole image fell;
And that a slight companionable ghost,
Wild with divinity,
Had so lit up the whole
Immense miraculous house
The Bible promised us,
It seemed a gold-fish swimming in a bowl.

On Florence Emery I call the next,
Who finding the first wrinkles on a face
Admired and beautiful,
And knowing that the future would be vexed
With ’minished beauty, multiplied commonplace,
Preferred to teach a school,
Away from neighbour or friend
Among dark skins, and there
Permit foul years to wear
Hidden from eyesight to the unnoticed end.

Before that end much had she ravelled out
From a discourse in figurative speech
By some learned Indian
On the soul’s journey. How it is whirled about,
Wherever the orbit of the moon can reach,
Until it plunge into the sun;
And there, free and yet fast
Being both Chance and Choice,
Forget its broken toys
And sink into its own delight at last.

And I call up MacGregor from the grave,
For in my first hard springtime we were friends,
Although of late estranged.
I thought him half a lunatic, half knave,
And told him so, but friendship never ends;
And what if mind seem changed,
And it seem changed with the mind,
When thoughts rise up unbid
On generous things that he did
And I grow half contented to be blind.

He had much industry at setting out,
Much boisterous courage, before loneliness
Had driven him crazed;
For meditations upon unknown thought
Make human intercourse grow less and less;
They are neither paid nor praised.
But he’d object to the host,
The glass because my glass;
A ghost-lover he was
And may have grown more arrogant being a ghost.

But names are nothing. What matter who it be,
So that his elements have grown so fine
The fume of muscatel
Can give his sharpened palate ecstasy
No living man can drink from the whole wine.
I have mummy truths to tell
Whereat the living mock,
Though not for sober ear,
For maybe all that hear
Should laugh and weep an hour upon the clock.

Such thought⁠—such thought have I that hold it tight
Till meditation master all its parts,
Nothing can stay my glance
Until that glance run in the world’s despite
To where the damned have howled away their hearts,
And where the blessed dance;
Such thought, that in it bound
I need no other thing
Wound in mind’s wandering,
As mummies in the mummy-cloth are wound.

Endnotes

The poem is founded upon the middle Irish dialogues of S. Patric and Usheen and a certain Gaelic poem of the last century. The events it describes are supposed to have taken place rather in the indefinite period, made up of many periods, described by the folktales, than in any particular century; it therefore, like the later Fenian stories themselves, mixes much that is medieval with much that is ancient. The Gaelic poems do not make Usheen go to more than one island, but a story in Silva Gadelica describes “four paradises,” an island to the north, an island to the west, an island to the south, and Adam’s paradise in the east. — W. B. Y., 1912. ↩
It is said that an enchanted tree grew once on the little lake-island of Innisfree, and that its berries were, according to one legend, poisonous to mortals, and according to another, able to endow them with more than mortal powers. Both legends say that the berries were the food of the Tuatha de Danaan, or faeries. Quicken is the old Irish name for the mountain ash. The Dark Joan mentioned in the last verse is a famous faery who often goes about the roads disguised as a clutch of chickens. Niam is the famous and beautiful faery who carried Oisin into Faeryland. Aslauga Shee means faery host. ↩
Ballads and Lyrics, “The Rose,” “The Wanderings of Oisin.”⁠—When I first wrote I went here and there for my subjects as my reading led me, and preferred to all other countries Arcadia and the India of romance, but presently I convinced myself, for such reasons as those in “Ireland and the Arts,” that I should never go for the scenery of a poem to any country but my own, and I think that I shall hold to that conviction to the end. I was very young; and, perhaps because I belonged to a Young Ireland Society in Dublin, I wished to be as easily understood as the Young Ireland writers, to write always out of the common thought of the people.

I have put the poems written while I was influenced by this desire, though with an always lessening force, into those sections which I have called “Early Poems.” I read certain of them now with no little discontent, for I find, especially in the ballads, some triviality and sentimentality. Mangan and Davis, at their best, are not sentimental and trivial, but I became so from an imitation that was not natural to me. When I was writing the poems in the second of the three, the section called “The Rose,” I found that I was becoming unintelligible to the young men who had been in my thought. We have still the same tradition, but I have been like a traveller who, having when newly arrived in the city noticed nothing but the news of the marketplace, the songs of the workmen, the great public buildings, has come after certain months to let his thoughts run upon some little carving in its niche, some Ogham on a stone, or the conversation of a countryman who knows more of the “Boar without Bristles” than of the daily paper.

When writing I went for nearly all my subjects to Irish folklore and legends, much as a Young Ireland poet would have done, writing “Down by the Salley Garden” by adding a few lines to a couple of lines I heard sung at Ballisodare; “The Meditation of the Old Fisherman” from the words of a not very old fisherman at Rosses Point; “The Lamentation of the Old Pensioner” from words spoken by a man on the Two Rock Mountain to a friend of mine; “The Ballad of the Old Foxhunter” from an incident in one of Kickham’s novels; and “The Ballad of Moll Magee” from a sermon preached in a chapel at Howth; and “The Wanderings of Oisin” from a Gaelic poem of the Eighteenth Century and certain Middle Irish poems in dialogue. It is no longer necessary to say who Oisin and Cuchulain and Fergus and the other bardic persons are, for Lady Gregory, in her Gods and Fighting Men and Cuchulain of Muirthemne has retold all that is greatest in the ancient literature of Ireland in a style that has to my ears an immortal beauty. ↩
The Pronunciation of the Irish Names.⁠—I wrote the greater number of these poems I had hardly considered the question seriously. I copied at limes somebody’s perhaps fanciful phonetic spelling, and at times the ancient spelling as I found it in some literal translation, pronouncing the words always as they were spelt. I can only affirm that I did not even in my youth treat Irish names as badly as the medieval writers of the stories of King Arthur treated their Welsh names. ↩
Many of the poems in Crossways, certainly those upon Indian subjects or upon shepherds and fauns, must have been written before I was twenty, for from the moment when I began “The Wanderings of Usheen,” which I did at that age, I believe, my subject matter became Irish. Every time I have reprinted them I have considered the leaving out of most, and then remembered an old school friend who has some of them by heart, for no better reason, as I think, than that they remind him of his own youth. The little Indian dramatic scene was meant to be the first scene of a play about a man loved by two women, who had the one soul between them, the one woman waking when the other slept, and knowing but daylight as the other only night. It came into my head when I saw a man at Rosses Point carrying two salmon. “One man with two souls,” I said, and added, “Oh, no, two people with one soul.” I am now once more in “A Vision” busy with that thought, the antitheses of day and of night and of moon and of sun. “The Rose” was part of my second book, The Countess Cathleen and Various Legends and Lyrics, 1892, and I notice upon reading these poems for the first time for several years that the quality symbolized as The Rose differs from The Intellectual Beauty of Shelley and of Spencer in that I have imagined it as suffering with man and not as something pursued and seen from afar. It must have been a thought of my generation, for I remember the mystical painter Horton, whose work had little of his personal charm and real strangeness writing me these words, “I met your beloved in Russell Square, and she was weeping,” by which he meant that he had seen a vision of my neglected soul. I have altered several of these poems, “Cuchulain’s Fight with the Waves,” “The Dedication to a Book of Stories,” and “To Ireland in the Coming Times,” considerably, and “The Song of the Old Pensioner” and “The Sorrow of Love” till they are altogether new poems. Whatever changes I have made are but an attempt to express better what I thought and felt when I was a very young man. — W. B. Y., 1925.

I here revised “The Ballad of the Foxhunter,” and once again “Cuchulain’s Fight with the Sea,” and “The Dream of a Blessed Spirit” I have renamed “The Countess Cathleen in Paradise,” as it was once part of this play and is so much rewritten that it is almost a new poem. — W. B. Y., 1926. ↩
This ballad is founded on the story of a certain Father O’Hart, priest of Coloony, Sligo, in the eighteenth century, as told by the man who was priest of Coloony in his History of Ballisodare and Kilvarnet. The robbery of the lands of Father O’Hart was a kind of robbery which occurred but rarely during the penal laws. Catholics, forbidden to own landed property, evaded the law by giving a Protestant nominal possession of their estates. There are instances on record in which poor men were nominal owners of immense estates. ↩
Founded on an incident, probably itself a Tipperary tradition, in Kickham’s Knockagow. ↩
When I wrote these poems I had so meditated over the images that came to me in writing “Ballads and Lyrics,” “The Rose,” and “The Wanderings of Oisin,” and other images from Irish folklore, that they had become true symbols. I had sometimes when awake, but more often in sleep, moments of vision, a state very unlike dreaming, when these images took upon themselves what seemed an independent life and became a part of a mystic language, which seemed always as if it would bring me some strange revelation. Being troubled at what was thought a reckless obscurity, I tried to explain myself in lengthy notes, into which I put all the little learning I had, and more wilful fantasy than I now think admirable, though what is most mystical still seems to me the most true. I quote in what follows the better or the more necessary passages. ↩
A Note on the Setting of these Poems to Music.⁠—A musician who would give me pleasure should not repeat a line, or put more than one note to one syllable. I am a poet not a musician, and dislike to have my words distorted or their animation destroyed, even though the musician claims to have expressed their meaning in a different medium.⁠—1922. ↩
The gods of ancient Ireland, the Tuatha De Danaan, or the Tribes of the goddess Danu, or the Sidhe, from Aes Sidhe, or Sluagh Sidhe, the people of the Faery Hills, as these words are usually explained, still ride the country as of old. Sidhe is also Gaelic for wind, and certainly the Sidhe have much to do with the wind. They journey in whirling wind, the winds that were called the dance of the daughters of Herodias in the Middle Ages, Herodias doubtless taking the place of some old goddess. When the country people see the leaves whirling on the road they bless themselves, because they believe the Sidhe to be passing by. They are almost always said to wear no covering upon their heads, and to let their hair stream out; and the great among them, for they have great and simple, go much upon horseback. If anyone becomes too much interested in them, and sees them overmuch, he loses all interest in ordinary things.

A woman near Gort, in Galway, says: “There is a boy, now, of the Clorans; but I wouldn’t for the world let them think I spoke of him; it’s two years since he came from America, and since that time he never went to Mass, or to church, or to fairs, or to market, or to stand on the cross roads, or to hurling, or to nothing. And if anyone comes into the house, it’s into the room he’ll slip, not to see them; and as to work, he has the garden dug to bits, and the whole place smeared with cow dung; and such a crop as was never seen; and the alders all plaited till they look grand. One day he went as far as the chapel; but as soon as he got to the door he turned straight round again, as if he hadn’t power to pass it. I wonder he wouldn’t get the priest to read a Mass for him, or something; but the crop he has is grand, and you may know well he has some to help him.” One hears many stories of the kind; and a man whose son is believed to go out riding among them at night tells me that he is careless about everything, and lies in bed until it is late in the day. A doctor believes this boy to be mad. Those that are at times “away,” as it is called, know all things, but are afraid to speak. A countryman at Kiltartan says, “There was one of the Lydons⁠—John⁠—was away for seven years, lying in his bed, but brought away at nights, and he knew everything; and one, Kearney, up in the mountains, a cousin of his own, lost two hoggets, and came and told him, and he knew the very spot where they were, and told him, and he got them back again. But they were vexed at that, and took away the power, so that he never knew anything again, no more than another.”

Knocknarea is in Sligo, and the country people say that Maeve, still a great queen of the western Sidhe, is buried in the cairn of stones upon it. I have written of Clooth-na-Bare in The Celtic Twilight. She “went all over the world, seeking a lake deep enough to drown her faery life, of which she had grown weary, leaping from hill to hill, and setting up a cairn of stones wherever her feet lighted, until, at last, she found the deepest water in the world in little Lough Ia, on the top of the bird mountain, in Sligo.” I forget, now, where I heard this story, but it may have been from a priest at Collooney. Clooth-na-Bare would mean the old woman of Bare, but is evidently a corruption of Cailleac Bare, the old woman of Bare, who, under the names Bare, and Berah, and Beri, and Verah, and Dera, and Dhira, appears in the legends of many places. Mr. O’Grady found her haunting Lough Liath high up on the top of a mountain of the Fews, the Slieve Fuadh, or Slieve G-Cullain of old times, under the name of the Cailleac Buillia. He describes Lough Liath as a desolate moon-shaped lake, with made wells and sunken passages upon its borders, and beset by marsh and heather and gray boulders, and closes his “Flight of the Eagle” with a long rhapsody upon mountain and lake, because of the heroic tales and beautiful old myths that have hung about them always. He identifies the Cailleac Buillia with that Meluchra who persuaded Fionn to go to her amid the waters of Lough Liath, and so changed him with her enchantments, that, though she had to free him because of the threats of the Fiana, his hair was ever afterwards as white as snow. To this day the Tuatha De Danaan that are in the waters beckon to men, and drown them in the waters; and Bare, or Dhira, or Meluchra, or whatever name one likes the best, is, doubtless, the name of a mistress among them. Meluchra was daughter of Cullain; and Cullain Mr. O’Grady calls, upon I know not what authority, a form of Lir, the master of waters. The people of the waters have been in all ages beautiful and changeable and lascivious, or beautiful and wise and lonely, for water is everywhere the signature of the fruitfulness of the body and of the fruitfulness of dreams. The white hair of Fionn may be but another of the troubles of those that come to unearthly wisdom and earthly trouble, and the threats and violence of the Fiana against her, a different form of the threats and violence the country people use, to make the Aes Sidhe give up those that are “away.” Bare is now often called an ugly old woman, but in the “Song of Bare,” which Lady Gregory has given in her Saints and Wonders, she laments her lost beauty after the withering of seven hundred years; and Dr. Joyce says that one of her old names was Aebhin, which means beautiful. Aebhin was the goddess of the tribes of northern Leinster; and the lover she had made immortal, and who loved her perfectly, left her, and put on mortality, to fight among them against the stranger, and died on the strand of Clontarf. ↩
Some writers distinguish between the Sluagh Gaoith, the host of the air, and Sluagh Sidhe, the host of the Sidhe, and describe the host of the air as of a peculiar malignancy. Dr. Joyce says, “Of all the different kinds of goblins⁠ ⁠… air demons were most dreaded by the people. They lived among clouds, and mists, and rocks, and hated the human race with the utmost malignity.” A very old Aran charm, which contains the words “Send God, by his strength, between us and the host of the Sidhe, between us and the host of the air,” seems also to distinguish among them. I am inclined, however, to think that the distinction came in with Christianity and its belief about the prince of the air, for the host of the Sidhe, as I have already explained, are closely associated with the wind.

They are said to steal brides just after their marriage, and sometimes in a blast of wind. A man in Galway says, “At Aughanish there were two couples came to the shore to be married, and one of the newly married women was in the boat with the priest, and they going back to the island; and a sudden blast of wind came, and the priest said some blessed words that were able to save himself, but the girl was swept.”

This woman was drowned; but more often the persons who are taken “get the touch,” as it is called, and fall into a half dream, and grow indifferent to all things, for their true life has gone out of the world, and is among the hills and the forts of the Sidhe. A faery doctor has told me that his wife “got the touch” at her marriage because there was one of them wanted her; and the way he knew for certain was, that when he took a pitchfork out of the rafters, and told her it was a broom, she said, “It is a broom.” She was, the truth is, in the magical sleep, to which people have given a new name lately, that makes the imagination so passive that it can be moulded by any voice in any world into any shape. A mere likeness of some old woman, or even old animal, some one or some thing the Sidhe have no longer a use for, is believed to be left instead of the person who is “away”; this some one or some thing can, it is thought, be driven away by threats, or by violence (though I have heard country women say that violence is wrong), which perhaps awakes the soul out of the magical sleep. The story in the poem is founded on an old Gaelic ballad that was sung and translated for me by a woman at Ballisodare in County Sligo; but in the ballad the husband found the keeners keening his wife when he got to his house. She was “swept” at once; but the Sidhe are said to value those the most whom they but cast into a half dream, which may last for years, for they need the help of a living person in most of the things they do. There are many stories of people who seem to die and be buried⁠—though the country people will tell you it is but some one or some thing put in their place that dies and is buried⁠—and yet are brought back afterwards. These tales are perhaps memories of true awakenings out of the magical sleep, moulded by the imagination, under the influence of a mystical doctrine which it understands too literally, into the shape of some well-known traditional tale. One does not hear them as one hears the others, from the persons who are “away,” or from their wives or husbands; and one old man, who had often seen the Sidhe, began one of them with “Maybe it is all vanity.”

Here is a tale that a friend of mine heard in the Burren hills, and it is a type of all:⁠—

“There was a girl to be married, and she didn’t like the man, and she cried when the day was coming, and said she wouldn’t go along with him. And the mother said, ‘Get into the bed, then, and I’ll say that you’re sick.’ And so she did. And when the man came the mother said to him, ‘You can’t get her, she’s sick in the bed.’ And he looked in and said, ‘That’s not my wife that’s in the bed, it’s some old hag.’ And the mother began to cry and roar. And he went out and got two hampers of turf, and made a fire, that they thought he was going to burn the house down. And when the fire was kindled, ‘Come out, now,’ says he, ‘and we’ll see who you are, when I’ll put you on the fire.’ And when she heard that, she gave one leap, and was out of the house, and they saw, then, it was an old hag she was. Well, the man asked the advice of an old woman, and she bid him go to a faery-bush that was near, and he might get some word of her. So he went there at night, and saw all sorts of grand people, and they in carriages or riding on horses, and among them he could see the girl he came to look for. So he went again to the old woman, and she said, ‘If you can get the three bits of blackthorn out of her hair, you’ll get her again.’ So that night he went again, and that time he only got hold of a bit of her hair. But the old woman told him that was no use, and that he was put back now, and it might be twelve nights before he’d get her. But on the fourth night he got the third bit of blackthorn, and he took her, and she came away with him. He never told the mother he had got her; but one day she saw her at a fair, and, says she, ‘That’s my daughter; I know her by the smile and by the laugh of her, and she with a shawl about her head.’ So the husband said, ‘You’re right there, and hard I worked to get her.’ She spoke often of the grand things she saw underground, and how she used to have wine to drink, and to drive out in a carriage with four horses every night. And she used to be able to see her husband when he came to look for her, and she was greatly afraid he’d get a drop of the wine, for then he would have come underground and never left it again. And she was glad herself to come to earth again, and not to be left there.”

The old Gaelic literature is full of the appeals of the Tuatha De Danaan to mortals whom they would bring into their country; but the song of Midher to the beautiful Etain, the wife of the king who was called Echaid the ploughman, is the type of all.

“O beautiful woman, come with me to the marvellous land where one listens to a sweet music, where one has spring flowers in one’s hair, where the body is like snow from head to foot, where no one is sad or silent, where teeth are white and eyebrows are black⁠ ⁠… cheeks red like foxglove in flower.⁠ ⁠… Ireland is beautiful, but not so beautiful as the Great Plain I call you to. The beer of Ireland is heady, but the beer of the Great Plain is much more heady. How marvellous is the country I am speaking of! Youth does not grow old there. Streams with warm flood flow there; sometimes mead, sometimes wine. Men are charming and without a blot there, and love is not forbidden there. O woman, when you come into my powerful country you will wear a crown of gold upon your head. I will give you the flesh of swine, and you will have beer and milk to drink, O beautiful woman. O beautiful woman, come with me!” ↩
The Tuatha De Danaan can take all shapes, and those that are in the waters take often the shape of fish. A woman of Burren, in Galway, says, “There are more of them in the sea than on the land, and they sometimes try to come over the side of the boat in the form of fishes, for they can take their choice shape.” At other times they are beautiful women; and another Galway woman says, “Surely those things are in the sea as well as on land. My father was out fishing one night off Tyrone. And something came beside the boat that had eyes shining like candles. And then a wave came in, and a storm rose all in a minute, and whatever was in the wave, the weight of it had like to sink the boat. And then they saw that it was a woman in the sea that had the shining eyes. So my father went to the priest, and he bid him always to take a drop of holy water and a pinch of salt out in the boat with him, and nothing could harm him.”

The poem was suggested to me by a Greek folk song; but the folk belief of Greece is very like that of Ireland, and I certainly thought, when I wrote it, of Ireland, and of the spirits that are in Ireland. An old man who was cutting a quickset hedge near Gort, in Galway, said, only the other day, “One time I was cutting timber over in Inchy, and about eight o’clock one morning, when I got there, I saw a girl picking nuts, with her hair hanging down over her shoulders; brown hair; and she had a good, clean face, and she was tall, and nothing on her head, and her dress no way gaudy, but simple. And when she felt me coming she gathered herself up, and was gone, as if the earth had swallowed her up. And I followed her, and looked for her, but I never could see her again from that day to this, never again.”

The county Galway people use the word “clean” in its old sense of fresh and comely. ↩
My deer and hound are properly related to the deer and hound that flicker in and out of the various tellings of the Arthurian legends, leading different knights upon adventures, and to the hounds and to the hornless deer at the beginning of, I think, all tellings of Usheen’s journey to the country of the young. The hound is certainly related to the Hounds of Annwoyn or of Hades, who are white, and have red ears, and were heard, and are, perhaps, still heard by Welsh peasants, following some flying thing in the night winds; and is probably related to the hounds that Irish country people believe will awake and seize the souls of the dead if you lament them too loudly or too soon. An old woman told a friend and myself that she saw what she thought were white birds, flying over an enchanted place; but found, when she got near, that they had dogs’ heads, and I do not doubt that my hound and these dog-headed birds are of the same family. I got my hound and deer out of a last century Gaelic poem about Oisin’s journey to the country of the young. After the hunting of the hornless deer, that leads him to the seashore, and while he is riding over the sea with Niamh, he sees amid the waters⁠—I have not the Gaelic poem by me, and describe it from memory⁠—a young man following a girl who has a golden apple, and afterwards a hound with one red ear following a deer with no horns. This hound and this deer seem plain images of the desire of man “which is for the woman,” and “the desire of the woman which is for the desire of the man,” and of all desires that are as these. I have read them in this way in The Wanderings of Usheen or Oisin, and have made my lover sigh because he has seen in their faces “the immortal desire of immortals.”

The man in my poem who has a hazel wand may have been Aengus, Master of Love; and I have made the boar without bristles come out of the West, because the place of sunset was in Ireland, as in other countries, a place of symbolic darkness and death. ↩
I dreamed this story exactly as I have written it, and dreamed another long dream after it, trying to make out its meaning, and whether I was to write it in prose or verse. The first dream was more a vision than a dream, for it was beautiful and coherent, and gave me the sense of illumination and exaltation that one gets from visions, while the second dream was confused and meaningless. The poem has always meant a great deal to me, though, as is the way with symbolic poems, it has not always meant quite the same thing. Blake would have said, “the authors are in eternity,” and I am quite sure they can only be questioned in dreams. ↩
All over Ireland there are prophecies of the coming rout of the enemies of Ireland, in a certain Valley of the Black Pig, and these prophecies are, no doubt, now, as they were in the Fenian days, a political force. I have heard of one man who would not give any money to the Land League, because the Battle could not be until the close of the century; but, as a rule, periods of trouble bring prophecies of its near coming. A few years before my time, an old man who lived at Lisadill, in Sligo, used to fall down in a fit and rave out descriptions of the Battle; and a man in Sligo has told me that it will be so great a battle that the horses shall go up to their fetlocks in blood, and that their girths, when it is over, will rot from their bellies for lack of a hand to unbuckle them. If one reads Professor Rhys’ Celtic Heathendom by the light of Professor Frazer’s Golden Bough, and puts together what one finds there about the boar that killed Diarmuid, and other old Celtic boars and sows, one sees that the battle is mythological, and that the Pig it is named from must be a type of cold and winter doing battle with the summer, or of death battling with life. For the purposes of poetry, at any rate, I think it a symbol of the darkness that will destroy the world. The country people say there is no shape for a spirit to take so dangerous as the shape of a pig; and a Galway blacksmith⁠—and blacksmiths are thought to be specially protected⁠—says he would be afraid to meet a pig on the road at night; and another Galway man tells this story: “There was a man coming the road from Gort to Garryland one night, and he had a drop taken; and before him, on the road, he saw a pig walking; and having a drop in, he gave a shout, and made a kick at it, and bid it get out of that. And by the time he got home, his arm was swelled from the shoulder to be as big as a bag, and he couldn’t use his hand with the pain of it. And his wife brought him, after a few days, to a woman that used to do cures at Rahasane. And on the road all she could do would hardly keep him from lying down to sleep on the grass. And when they got to the woman she knew all that happened; ‘and,’ says she, ‘it’s well for you that your wife didn’t let you fall asleep on the grass, for if you had done that but even for one instant, you’d be a lost man.’ ”

Professor Rhys, who considers the bristleless boar a symbol of darkness and cold, rather than of winter and cold, thinks it was without bristles because the darkness is shorn away by the sun.

The Battle should, I believe, be compared with three other battles; a battle the Sidhe are said to fight when a person is being taken away by them; a battle they are said to fight in November for the harvest; the great battle the Tuatha De Danaan fought, according to the Gaelic chroniclers, with the Fomor at Moy Tura, or the Towery Plain.

I have heard of the battle over the dying both in County Galway and in the Isles of Aran, an old Aran fisherman having told me that it was fought over two of his children, and that he found blood in a box he had for keeping fish, when it was over; and I have written about it, and given examples elsewhere. A faery doctor, on the borders of Galway and Clare, explained it as a battle between the friends and enemies of the dying, the one party trying to take them, the other trying to save them from being taken. It may once, when the land of the Sidhe was the only other world, and when every man who died was carried thither, have always accompanied death. I suggest that the battle between the Tuatha De Danaan, the powers of light, and warmth, and fruitfulness, and goodness, and the Fomor, the powers of darkness, and cold, and barrenness, and badness upon the Towery Plain, was the establishment of the habitable world, the rout of the ancestral darkness; that the battle among the Sidhe for the harvest is the annual battle of summer and winter; that the battle among the Sidhe at a man’s death is the battle of life and death; and that the battle of the Black Pig is the battle between the manifest world and the ancestral darkness at the end of all things; and that all these battles are one, the battle of all things with shadowy decay. Once a symbolism has possessed the imagination of large numbers of men, it becomes, as I believe, an embodiment of disembodied powers, and repeats itself in dreams and visions, age after age. ↩
I find that I have unintentionally changed the old story of Conchubar’s death. He did not see the Crucifixion in a vision, but was told about it. He had been struck by a ball made of the dried brains of an enemy and hurled out of a sling; and this ball had been left in his head and his head had been mended, the Book of Leinster says, with thread of gold because his hair was like gold. Keating, a writer of the time of Elizabeth, says, “In that state did he remain seven years, until the Friday on which Christ was crucified, according to some historians; and when he saw the unusual changes of the creation and the eclipse of the sun and the moon at its full, he asked of Bucrach, a Leinster Druid, who was along with him, what was it that brought that unusual change upon the planets of Heaven and Earth. ‘Jesus Christ, the Son of God,’ said the Druid, ‘who is now being crucified by the Jews.’ ‘That is a pity,’ said Conchubar; ‘were I in his presence I would kill those who were putting him to death.’ And with that he brought out his sword, and rushed at a woody grove which was convenient to him, and began to cut and fell it; and what he said was, that if he were among the Jews, that was the usage he would give them, and from the excessiveness of his fury which seized upon him, the ball started out of his head, and some of the brain came after it, and in that way he died. The wood of Lanshraigh, in Feara Rois, is the name by which that shrubby wood is called.”

I have imagined Cuchulain meeting Fand “walking among flaming dew” because, I think, of something in Mr. Standish O’Grady’s books. The story of their love is one of the most beautiful of our old tales.

I have founded the man “who drove the gods out of their Liss,” or fort, upon something I have read about Caolte after the battle of Gabra, when almost all his companions were killed, driving the gods out of their Liss, either at Osraighe, now Ossory, or at Eas Ruaidh, now Asseroe, a waterfall at Ballyshannon, where Ilbreac, one of the children of the goddess Danu, had a Liss. But maybe I only read it in Mr. Standish O’Grady, who has a fine imagination, for I find no such story in Lady Gregory’s book.

I have founded “the proud dreaming king” upon Fergus, the son of Roigh, the legendary poet of “the quest of the bull of Cuailgne,” as he is in the ancient story of Deirdre, and in modern poems by Ferguson. He married Nessa, and Ferguson makes him tell how she took him “captive in a single look.”

“I am but an empty shade,
Far from life and passion laid;
Yet does sweet remembrance thrill
All my shadowy being still.”

Presently, because of his great love, he gave up his throne to Conchubar, her son by another, and lived out his days feasting, and fighting, and hunting. His promise never to refuse a feast from a certain comrade, and the mischief that came by his promise, and the vengeance he took afterwards, are a principal theme of the poets. I have explained my changing imaginations of him in “Fergus and the Druid,” and in a little song in the second act of The Countess Kathleen, and in Deirdre, but when I wrote my poem here, and in the song in my early book, “Who will drive with Fergus now,” I only knew him in Mr. Standish O’Grady, and my imagination dealt more freely with what I did know than I would approve of today.

I have founded him “who sold tillage, and house, and goods,” upon something in “The Red Pony,” a folk tale in Mr. Larminie’s West Irish Folk Tales. A young man “saw a light before him on the high road. When he came as far, there was an open box on the road, and a light coming up out of it. He took up the box. There was a lock of hair in it. Presently he had to go to become the servant of a king for his living. There were eleven boys. When they were going out into the stable at ten o’clock, each of them took a light but he. He took no candle at all with him. Each of them went into his own stable. When he went into his stable he opened the box. He left it in a hole in the wall. The light was great. It was twice as much as in the other stables.” The king hears of it, and makes him show him the box. The king says, “You must go and bring me the woman to whom the hair belongs.” In the end, the young man, and not the king, marries the woman. ↩
“The Poet Pleads with the Elemental Powers;” “He Thinks of His Past Greatness When a Part of the Constellations of Heaven;” “He Hears the Cry of the Sedge.”⁠—The Rose has been for many centuries a symbol of spiritual love and supreme beauty. The lotus was in some Eastern countries imagined blossoming upon the Tree of Life, as the Flower of Life, and is thus represented in Assyrian bas-reliefs. Because the Rose, the flower sacred to the Virgin Mary, and the flower that Apuleius’ adventurer ate, when he was changed out of the ass’s shape and received into the fellowship of Isis, is the western Flower of Life, I have imagined it growing upon the Tree of Life. I once stood beside a man in Ireland when he saw it growing there in a vision, that seemed to have rapt him out of his body. He saw the Garden of Eden walled about, and on the top of a high mountain, as in certain medieval diagrams, and after passing the Tree of Knowledge, on which grew fruit full of troubled faces, and through whose branches flowed, he was told, sap that was human souls, he came to a tall, dark tree, with little bitter fruits, and was shown a kind of stair or ladder going up through the tree, and told to go up; and near the top of the tree, a beautiful woman, like the Goddess of Life, associated with the tree in Assyria, gave him a rose that seemed to have been growing upon the tree. One finds the Rose in the Irish poets, sometimes as a religious symbol, as in the phrase, “the Rose of Friday,” meaning the Rose of austerity, in a Gaelic poem in Dr. Hyde’s Religious Songs of Connacht; and, I think, as a symbol of woman’s beauty in the Gaelic song, “Roseen Dubh”; and a symbol of Ireland in Mangan’s adaptation of “Roseen Dubh,” “My Dark Rosaleen,” and in Mr. Aubrey de Vere’s “The Little Black Rose.” I do not know any evidence to prove whether this symbol came to Ireland with medieval Christianity, or whether it has come down from older times. I have read somewhere that a stone engraved with a Celtic god, who holds what looks like a rose in one hand, has been found somewhere in England; but I cannot find the reference, though I certainly made a note of it. If the Rose was really a symbol of Ireland among the Gaelic poets, and if “Roseen Dubh” is really a political poem, as some think, one may feel pretty certain that the ancient Celts associated the Rose with Eire, or Fotla, or Banba⁠—goddesses who gave their names to Ireland⁠—or with some principal god or goddess, for such symbols are not suddenly adopted or invented, but come out of mythology.

I have made the Seven Lights, the constellation of the Bear, lament for the theft of the Rose, and I have made the Dragon, the constellation Draco, the guardian of the Rose, because these constellations move about the pole of the heavens, the ancient Tree of Life in many countries, and are often associated with the Tree of Life in mythology. It is this Tree of Life that I have put into the “Song of Mongan” under its common Irish form of a hazel; and, because it had sometimes the stars for fruit, I have hung upon it “the Crooked Plough” and the “Pilot Star,” as Gaelic-speaking Irishmen sometimes call the Bear and the North star. I have made it an axletree in “Aedh hears the Cry of the Sedge,” for this was another ancient way of representing it. ↩
“Free of the ten and four” is an error I cannot now correct, without more rewriting than I have a mind for. Some merchant in Villon, I forget the reference, was “free of the ten and four.” Irish merchants exempted from certain duties by the Irish Parliament were, unless memory deceives me again for I am writing away from books, “free of the eight and six.” ↩
Poems Beginning with That “To a Wealthy Man” and Ending with That “To a Shade.”⁠—During the thirty years or so during which I have been reading Irish newspapers, three public controversies have stirred my imagination. The first was the Parnell controversy. There were reasons to justify a man’s joining either party, but there were none to justify, on one side or on the other, lying accusations forgetful of past service, a frenzy of detraction. And another was the dispute over The Playboy. There were reasons for opposing as for supporting that violent, laughing thing, but none for the lies, for the unscrupulous rhetoric spread against it in Ireland, and from Ireland to America. The third prepared for the Corporation’s refusal of a building for Sir Hugh Lane’s famous collection of pictures.

One could respect the argument that Dublin, with much poverty and many slums, could not afford the £22,000 the building was to cost the city, but not the minds that used it. One frenzied man compared the pictures to Troy horse which “destroyed a city,” and innumerable correspondents described Sir Hugh Lane and those who had subscribed many thousands to give Dublin paintings by Corot, Manet, Monet, Degas, and Renoir, as “self-seekers,” “self-advertisers,” “picture-dealers,” “logrolling cranks and faddists,” and one clerical paper told “picture-dealer Lane” to take himself and his pictures out of that. A member of the Corporation said there were Irish artists who could paint as good if they had a mind to, and another described a half-hour in the temporary gallery in Harcourt Street as the most dismal of his life. Some one else asked instead of these eccentric pictures to be given pictures “like those beautiful productions displayed in the windows of our city picture shops.” Another thought that we would all be more patriotic if we devoted our energy to fighting the Insurance Act. Another would not hang them in his kitchen, while yet another described the vogue of French impressionist painting as having gone to such a length among “logrolling enthusiasts” that they even admired “works that were rejected from the Salon forty years ago by the finest critics in the world.”

The first serious opposition began in the Irish Catholic, the chief Dublin clerical paper, and Mr. William Murphy, the organiser of the recent lockout and Mr. Healy’s financial supporter in his attack upon Parnell, a man of great influence, brought to its support a few days later his newspapers The Evening Herald and The Irish Independent, the most popular of Irish daily papers. He replied to my poem “To a Wealthy Man” (I was thinking of a very different wealthy man) from what he described as “Paudeen’s point of view,” and “Paudeen’s point of view” it was. The enthusiasm for “Sir Hugh Lane’s Corots”⁠—one paper spelled the name repeatedly “Crot”⁠—being but “an exotic fashion,” waited “some satirist like Gilbert” who “killed the aesthetic craze,” and as for the rest “there were no greater humbugs in the world than art critics and so-called experts.” As the first avowed reason for opposition, the necessities of the poor got but a few lines, not so many certainly as the objection of various persons to supply Sir Hugh Lane with “a monument at the city’s expense,” and as the gallery was supported by Mr. James Larkin, the chief Labour leader, and important slum workers, I assume that the purpose of the opposition was not exclusively charitable.35

These controversies, political, literary, and artistic, have showed that neither religion nor politics can of itself create minds with enough receptivity to become wise, or just and generous enough to make a nation. Other cities have been as stupid⁠—Samuel Butler laughs at shocked Montreal for hiding the Discobolus in a cellar⁠—but Dublin is the capital of a nation, and an ancient race has nowhere else to look for an education. Goethe in Wilhelm Meister describes a saintly and naturally gracious woman, who getting into a quarrel over some trumpery detail of religious observance, grows⁠—she and all her little religious community⁠—angry and vindictive. In Ireland I am constantly reminded of that fable of the futility of all discipline that is not of the whole being. Religious Ireland⁠—and the pious Protestants of my childhood were signal examples⁠—thinks of divine things as a round of duties separated from life and not as an element that may be discovered in all circumstance and emotion, while political Ireland sees the good citizen but as a man who holds to certain opinions and not as a man of good will. Against all this we have but a few educated men and the remnants of an old traditional culture among the poor. Both were stronger forty years ago, before the rise of our new middle class which showed as its first public event, during the nine years of the Parnellite split, how base at moments of excitement are minds without culture. 1914.

“Romantic Ireland’s dead and gone” sounds old-fashioned now. It seemed true in 1913, but I did not foresee 1916. The late Dublin Rebellion, whatever one can say of its wisdom, will long be remembered for its heroism. “They weighed so lightly what they gave,” and gave too in some cases without hope of success. —July 1916. ↩
The fable for this poem came into my head while I was giving some lectures in Dublin. I had noticed once again how all thought among us is frozen into “something other than human life.” After I had made the poem, I looked up one day into the blue of the sky, and suddenly imagined, as if lost in the blue of the sky, stiff figures in procession. I remembered that they were the habitual image suggested by blue sky, and looking for a second fable called them “The Magi,” complimentary forms to those enraged dolls. ↩
When I was a child at Sligo I could see above my grandfather’s trees a little column of smoke from “the pern mill,” and was told that “pern” was another name for the spool, as I was accustomed to call it, on which thread was wound. One could not see the chimney for the trees, and the smoke looked as if it came from the mountain, and one day a foreign sea-captain asked me if that was a burning mountain. ↩
“The Phases of the Moon,” “The Double Vision of Michael Robartes,” “Michael Robartes and the Dancer.”⁠—Years ago I wrote three stories in which occur the names of Michael Robartes and Owen Aherne. I now consider that I used the actual names of two friends, and that one of these friends, Michael Robartes, has but lately returned from Mesopotamia where he has partly found and partly thought out much philosophy. I consider that John Aherne is either the original of Owen Aherne or some near relation of the man that was, and that both he and Robartes, to whose namesake I had attributed a turbulent life and death, have quarrelled with me. They take their place in a phantasmagoria in which I endeavour to explain my philosophy of life and death, and till that philosophy has found some detailed exposition in prose certain passages in the poems named above may seem obscure. To some extent I wrote them as a text for exposition.⁠—1922. ↩
Robartes writes to Aherne under the date May 12th, 1917. “I found among the Judwalis much biographical detail, probably legendary, about Kusta-ben-Luki. He saw occasionally during sleep a woman’s face and later on found in a Persian painting a face resembling, though not identical with the dream-face, which was he considered that of a woman loved in another life. Presently he met & loved a beautiful woman whose face also resembled, without being identical, that of his dream. Later on he made a long journey to purchase the painting which was, he said, the better likeness, and found on his return that his mistress had left him in a fit of jealousy.” In a dialogue and in letters, Robartes gives a classification and analysis of dreams which explain the survival of this story among the followers of Kusta-ben-Luki. They distinguished between the memory of concrete images and the abstract memory, and affirm that no concrete dream-image is ever from our memory. This is not only true they say of dreams, but of those visions seen between sleeping and waking. This doctrine at first found me incredulous, for I thought it contradicted by my experience and by all I have read, not however a very great amount, in books of psychology and of psychoanalysis. Did I not frequently dream of some friend, or relation, or that I was at school? I found, however, when I studied my dreams, as I was directed in a dialogue, that the image seen was never really that of friend, or relation, or my old school, though it might very closely resemble it. A substitution had taken place, often a very strange one, though I forgot this if I did not notice it at once on waking. The name of some friend, or the conceptions “my father” and “at school,” are a part of the abstract memory and therefore of the dream life, but the image of my father, or my friend, or my old school, being a part of the personal concrete memory appeared neither in sleep nor in visions between sleep and waking. I found sometimes that my father, or my friend, had been represented in sleep by a stool or a chair, and I concluded that it was the entire absence of my personal concrete memory that enabled me to accept such images without surprise. Was it not perhaps this very absence that constituted sleep? Would I perhaps awake if a single concrete image from my memory came before me? Even these images⁠—stool, chair, etc. were never any particular stool, chair, etc. that I had known. Were these images, however, from the buried memory? had they floated up from the subconscious? had I seen them perhaps a long time ago and forgotten having done so? Even if that were so, the exclusion of the conscious memory was a new, perhaps important truth; but Robartes denied their source even in the subconscious. It seems a corroboration that though I often see between sleep and waking elaborate landscape, I have never seen one that seemed a possible representation of any place I have ever lived near from childhood up. Robartes traces these substitute images to different sources. Those that come in sleep are (1) from the state immediately preceding our birth; (2) from the Spiritus Mundi⁠—that is to say, from a general storehouse of images which have ceased to be a property of any personality or spirit. Those that come between sleeping and waking are, he says, reshaped by what he calls the “automatic faculty” which can create pattern, balance, etc. from the impressions made upon the senses, not of ourselves, but of others bound to us by certain emotional links though perhaps entire strangers, and preserved in a kind of impersonal mirror, often simply called the “record,” which takes much the same place in his system the lower strata of the astral light does among the disciples of Elephas Levi. This does not exhaust the contents of dreams for we have to account also for certain sentences, for certain ideas which are not concrete images and yet do not arise from our personal memory, but at the moment I have merely to account for certain images that affect passion or affection. Robartes writes to Aherne in a letter dated May 15th, 1917: “No lover, no husband has ever met in dreams the true image of wife or mistress. She who has perhaps filled his whole life with joy or disquiet cannot enter there. Her image can fill every moment of his waking life but only its counterfeit comes to him in sleep; and he who classifies these counterfeits will find that just in so far as they become concrete, sensuous, they are distinct individuals; never types but individuals. They are the forms of those whom he has loved in some past earthly life, chosen from Spiritus Mundi by the subconscious will, and through them, for they are not always hollow shades, the dead at whiles outface a living rival.” They are the forms of Over Shadowers as they are called. All violent passion has to be expiated or atoned, by one in life, by one in the state between life and life, because, as the Judwalis believe, there is always deceit or cruelty; but it is only in sleep that we can see these forms of those who as spirits may influence all our waking thought. Souls that are once linked by emotion never cease till the last drop of that emotion is exhausted⁠—call it desire, hate or what you will⁠—to affect one another, remaining always as it were in contact. Those whose past passions are unatoned seldom love living man or woman but only those loved long ago, of whom the living man or woman is but a brief symbol forgotten when some phase of some atonement is finished; but because in general the form does not pass into the memory, it is the moral being of the dead that is symbolised. Under certain circumstances, which are precisely described, the form indirectly, and not necessarily from dreams, enters the living memory; the subconscious will, as in Kusta-ben-Luki in the story, selects among pictures, or other ideal representations, some form that resembles what was once the physical body of the Over Shadower, and this ideal form becomes to the living man an obsession, continually perplexing and frustrating natural instinct. It is therefore only after full atonement or expiation, perhaps after many lives, that a natural deep satisfying love becomes possible, and this love, in all subjective natures, must precede the Beatific Vision.

When I wrote “An Image from a Past Life,” I had merely begun my study of the various papers upon the subject, but I do not think I misstated Robartes’ thought in permitting the woman and not the man to see the Over Shadower or Ideal Form, whichever it was. No mind’s contents are necessarily shut off from another, and in moments of excitement images pass from one mind to another with extraordinary ease, perhaps most easily from that portion of the mind which for the time being is outside consciousness. I use the word “pass” because it is familiar, not because I believe any movement in space to be necessary. The second mind sees what the first has already seen, that is all. ↩
Robartes copied out and gave to Aherne several mathematical diagrams from the Speculum, squares and spheres, cones made up of revolving gyres intersecting each other at various angles, figures sometimes of great complexity. His explanation of these, obtained invariably from the followers of Kusta-ben-Luki, is founded upon a single fundamental thought. The mind, whether expressed in history or in the individual life, has a precise movement, which can be quickened or slackened but cannot be fundamentally altered, and this movement can be expressed by a mathematical form. A plant or an animal has an order of developement peculiar to it, a bamboo will not develop evenly like a willow, nor a willow from joint to joint, and both have branches, that lessen and grow more light as they rise, and no characteristic of the soil can alter these things. A poor soil may indeed check or stop the movement and a rich prolong and quicken it. Mendel has shown that his sweet-peas bred long and short, white and pink varieties in certain mathematical proportions, suggesting a mathematical law governing the transmission of parental characteristics. To the Judwalis, as interpreted by Michael Robartes, all living mind has likewise a fundamental mathematical movement, however adapted in plant, or animal, or man to particular circumstance; and when you have found this movement and calculated its relations, you can foretell the entire future of that mind. A supreme religious act of their faith is to fix the attention on the mathematical form of this movement until the whole past and future of humanity, or of an individual man, shall be present to the intellect as if it were accomplished in a single moment. The intensity of the Beatific Vision when it comes depends upon the intensity of this realisation. It is possible in this way, seeing that death is itself marked upon the mathematical figure, which passes beyond it, to follow the soul into the highest heaven and the deepest hell. This doctrine is, they contend, not fatalistic because the mathematical figure is an expression of the mind’s desire, and the more rapid the developement of the figure the greater the freedom of the soul. The figure while the soul is in the body, or suffering from the consequences of that life, is frequently drawn as a double cone, the narrow end of each cone being in the centre of the broad end of the other.

It has its origin from a straight line which represents, now time, now emotion, now subjective life, and a plane at right angles to this line which represents, now space, now intellect, now objective life; while it is marked out by two gyres which represent the conflict, as it were, of plane and line, by two movements, which circle about a centre because a movement outward on the plane is checked by and in turn checks a movement onward upon the line; & the circling is always narrowing or spreading, because one movement or other is always the stronger. In other words, the human soul is always moving outward into the objective world or inward into itself; & this movement is double because the human soul would not be conscious were it not suspended between contraries, the greater the contrast the more intense the consciousness. The man, in whom the movement inward is stronger than the movement outward, the man who sees all reflected within himself, the subjective man, reaches the narrow end of a gyre at death, for death is always, they contend, even when it seems the result of accident, preceded by an intensification of the subjective life; and has a moment of revelation immediately after death, a revelation which they describe as his being carried into the presence of all his dead kindred, a moment whose objectivity is exactly equal to the subjectivity of death. The objective man on the other hand, whose gyre moves outward, receives at this moment the revelation, not of himself seen from within, for that is impossible to objective man, but of himself as if he were somebody else. This figure is true also of history, for the end of an age, which always receives the revelation of the character of the next age, is represented by the coming of one gyre to its place of greatest expansion and of the other to that of its greatest contraction. At the present moment the life gyre is sweeping outward, unlike that before the birth of Christ which was narrowing, and has almost reached its greatest expansion. The revelation which approaches will however take its character from the contrary movement of the interior gyre. All our scientific, democratic, fact-accumulating, heterogeneous civilization belongs to the outward gyre and prepares not the continuance of itself but the revelation as in a lightning flash, though in a flash that will not strike only in one place, and will for a time be constantly repeated, of the civilization that must slowly take its place. This is too simple a statement, for much detail is possible. There are certain points of stress on outer and inner gyre, a division of each, now into ten, now into twenty-eight, stages or phases. However in the exposition of this detail so far as it affects the future, Robartes had little help from the Judwalis either because they cannot grasp events outside their experience, or because certain studies seem to them unlucky. “ ‘For a time the power’ they have said to me,” (writes Robartes) “ ‘will be with us, who are as like one another as the grains of sand, but when the revelation comes it will not come to the poor but to the great and learned and establish again for two thousand years prince & vizier. Why should we resist? Have not our wise men marked it upon the sand, and it is because of these marks, made generation after generation by the old for the young, that we are named Judwalis.’ ”

Their name means makers of measures, or as we would say, of diagrams. ↩
I have read somewhere that in the Emperor’s palace at Byzantium was a tree made of gold and silver, and artificial birds that sang. ↩
The persons mentioned are associated by legend, story and tradition with the neighbourhood of Thoor Ballylee or Ballylee Castle, where the poem was written. Mrs. French lived at Peterswell in the eighteenth century and was related to Sir Jonah Barrington, who described the incident of the ear and the trouble that came of it. The peasant beauty and the blind poet are Mary Hynes and Raftery, and the incident of the man drowned in Cloone Bog is recorded in my Celtic Twilight. Hanrahan’s pursuit of the phantom hare and hounds is from my Stories of Red Hanrahan. The ghosts have been seen at their game of dice in what is now my bedroom, and the old bankrupt man lived about a hundred years ago. According to one legend he could only leave the Castle upon a Sunday because of his creditors, and according to another he hid in the secret passage. ↩
In the passage about the Swan I have unconsciously echoed one of the loveliest lyrics of our time⁠—Mr. Sturge Moore’s “Dying Swan.” I often recited it during an American lecturing tour, which explains the theft.

The Dying Swan

O silver-throated Swan
Struck, struck! A golden dart
Clean through thy breast has gone
Home to thy heart.
Thrill, thrill, O silver throat!
O silver trumpet, pour
Love for defiance back
On him who smote!
And brim, brim o’er
With love; and ruby-dye thy track
Down thy last living reach
Of river, sail the golden light⁠—
Enter the sun’s heart⁠—even teach,
O wondrous-gifted pain, teach thou
The God to love, let him learn how!

When I wrote the lines about Plato and Plotinus I forgot that it is something in our own eyes that makes us see them as all transcendence. Has not Plotinus written: “Let every soul recall, then, at the outset the truth that soul is the author of all living things, that it has breathed the life into them all, whatever is nourished by earth and sea, all the creatures of the air, the divine stars in the sky; it is the maker of the sun; itself formed and ordered this vast heaven and conducts all that rhythmic motion⁠—and it is a principle distinct from all these to which it gives law and movement and life, and it must of necessity be more honourable than they, for they gather or dissolve as soul brings them life or abandons them, but soul, since it never can abandon itself, is of eternal being.” ↩
These poems were written at Thoor Ballylee in 1922, during the civil war. Before they were finished the Republicans blew up our “ancient bridge” one midnight. They forbade us to leave the house, but were otherwise polite, even saying at last “Goodnight, thank you” as though we had given them the bridge. ↩
In the West of Ireland we call a starling a stare, and during the civil war one built in a hole in the masonry by my bedroom window. ↩
The cry “Vengeance on the murderers of Jacques Molay,” Grand Master of the Templars, seems to me fit symbol for those who labour from hatred, and so for sterility in various kinds. It is said to have been incorporated in the ritual of certain Masonic societies of the eighteenth century, and to have fed class-hatred. ↩
I have a ring with a hawk and a butterfly upon it, to symbolise the straight road of logic, and so of mechanism, and the crooked road of intuition: “For wisdom is a butterfly and not a gloomy bird of prey.” ↩
The country people see at times certain apparitions whom they name now “fallen angels,” now “ancient inhabitants of the country,” and describe as riding at whiles “with flowers upon the heads of the horses.” I have assumed in the sixth poem that these horsemen, now that the times worsen, give way to worse. My last symbol, Robert Artisson, was an evil spirit much run after in Kilkenny at the start of the fourteenth century. Are not those who travel in the whirling dust also in the Platonic Year? ↩
I have taken “the honey of generation” from Porphyry’s essay on “The Cave of the Nymphs,” but find no warrant in Porphyry for considering it the “drug” that destroys the “recollection” of prenatal freedom. He blamed a cup of oblivion given in the zodiacal sign of Cancer. ↩
Part of an unfinished set of poems, dialogues and stories about John Ahern and Michael Robartes, Kusta ben Luka, & philosopher of Bagdad, and his Bedouin followers. ↩
In 1917 and later editions Yeats replaced the above with:

I leave out two long paragraphs which have been published in earlier editions of these poems. There is no need now to defend Sir Hugh Lane’s pictures against Dublin newspapers. The trustees of the London National Gallery, through his leaving a codicil to his will unwitnessed, have claimed the pictures for London, and propose to build a wing to the Tate Gallery to contain them. Some that were hostile are now contrite, and doing what they can, or letting others do unhindered what they can, to persuade Parliament to such action as may restore the collection to Ireland.

↩

Colophon

Poetry
includes poems first published between 1885 and 1928 by
W. B. Yeats.

This ebook was produced for
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