Willam Butler Yeats (1865-1939)

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 berrys
And of reddest stolen cherries.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

Where the wave of moonlight glosses
The dim gray sands with light,
Far off by furthest Rosses
We foot it all the night,
Weaving olden dances
Mingling hands and mingling glances
Till the moon has taken flight;
To and fro we leap
And chase the frothy bubbles,
While the world is full of troubles
And anxious in its sleep.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

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

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

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 it would 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 twelve-month since 
Suddenly I began, 
In scorn of this audience, 
Imagining a man, 
And his sun-freckled face 
And gray Connemara cloth, 
Climbing up to a place 
Where stone is dark with 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.”

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 men, nor cheering 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.

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 wingèd horse;  
This other his helper and friend  
Was coming into his force;
He might have won fame in the end,  
So sensitive his nature seemed,  
So daring and sweet his thought.
This other man I had dreamed
A drunken, vainglorious lout.
He had done most bitter wrong
To some who are near my heart,  
Yet I number him in the song;
He, too, has resigned his part
In the casual comedy;
He, too, has been changed in his turn,  
Transformed utterly:
A terrible beauty is born.

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;  
The 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.

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?

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 unageing 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.

Byzantium

The unpurged images of day recede;
The Emperor’s drunken soldiery are abed;
Night resonance recedes, night-walkers’ song
After great cathedral gong;
A starlit or a moonlit dome disdains
All that man is,
All mere complexities,
The fury and the mire of human veins.

Before me floats an image, man or shade,
Shade more than man, more image than a shade;
For Hades’ bobbin bound in mummy-cloth
May unwind the winding path;
A mouth that has no moisture and no breath
Breathless mouths may summon;
I hail the superhuman;
I call it death-in-life and life-in-death.

Miracle, bird or golden handiwork,
More miracle than bird or handiwork,
Planted on the starlit golden bough,
Can like the cocks of Hades crow,
Or, by the moon embittered, scorn aloud
In glory of changeless metal
Common bird or petal
And all complexities of mire or blood.

At midnight on the Emperor’s pavement flit
Flames that no faggot feeds, nor steel has lit,
Nor storm disturbs, flames begotten of flame,
Where blood-begotten spirits come
And all complexities of fury leave,
Dying into a dance,
An agony of trance,
An agony of flame that cannot singe a sleeve.

Astraddle on the dolphin’s mire and blood,
Spirit after spirit! The smithies break the flood,
The golden smithies of the Emperor!
Marbles of the dancing floor
Break bitter furies of complexity,
Those images that yet
Fresh images beget,
That dolphin-torn, that gong-tormented sea.

The Second Coming

Turning and turning in the widening gyre  
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
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?

Those Images

What if I bade you leave
The cavern of the mind?
There’s better exercise
In the sunlight and wind.

I never bade you go
To Moscow or to Rome.
Renounce that drudgery,
Call the Muses home.

Seek those images
That constitute the wild,
The lion and the virgin,
The harlot and the child.

Find in middle air
An eagle on the wing,
Recognise the five
That make the Muses sing.

The Lamentation of the Old Pensioner

Although 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.