"September 1913" by W.B. Yeats

 

William Butler Yeats in 1923

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.

"When You Are Old" by W.B. Yeats

 

Western Park located on Atwater Avenue; opened in 1870,
it was renamed Cabot Square in 1957

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.

"Adam's Curse" by W.B. Yeats

 

Knights Hospitallers, Limerick, Ireland

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 Stare's Nest by My Window, by W.B. Yeats

 

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; O honey-bees,

Come build in the empty house of the stare.

Note: the more times I read this poem by Yeats the more impressed I am by it, especially the last stanza. Re. "the stare", it reads on the Internet: "The first urban roost ever recorded was in Dublin's downtown plane trees in the 1840s, when the starling was the "stare" (an Old English word for the bird) and bought for food in city markets."

Ten Notes on Thomas D’Arcy McGee

Thomas D’Arcy McGee

1. Thomas D’Arcy McGee wasn’t a poet, like W.B Yeats, who was also involved in politics. Yeats was a distinguished poet and later, after Irish independence, he became a Senator in Ireland. McGee is a political thinker and activist who also wrote and published poems. Yeats: poet first; McGee: politician first. 

 2. Most of McGee’s poems have little interest for us today; if they do interest us, it is because they were written by Thomas D’Arcy McGee. 

Here I am visiting McGee's mausoleum at Cote des Neiges
Cemetery in Montreal. 

3. McGee makes several very contradictory changes in his life: he was a liberal in Ireland, then a very conservative and reactionary Roman Catholic in the United States, and then a liberal again in Canada. These are all opposing and difficult to reconcile positions. 

4. McGee pointed out that most Irish immigrants in the mid-19th Century did better in Canada than had they gone to the United States. My own family, like many others from Ireland, flourished in Canada. Canada has been a country of opportunities for us. 

5. Psychology, per se, had not yet been invented during McGee’s life. McGee’s psychology seems to have been dominated by the early death of his mother and the subsequent rejection of him by his stepmother. McGee had an unfortunate personal trait of attempting to ingratiate himself with those he felt were his superiors. Perhaps this was caused by his early home life. 

6. McGee was obviously a highly intelligent man—perhaps he was gifted—a man whose career before coming to Canada was distinguished by his writing, his work as an editor, and his political activism for Irish independence. He rose quickly in his career as a writer and orator for his political causes, he was more famous before coming to Canada than most of us realize. 

7. McGee’s assassination, by Patrick Whelan of the Fenian Brotherhood, helped to mythologize McGee’s life. 

 8. I doubt that most of McGee’s poetry has anything other than historical interest. Just compare him to other poets of approximately that time, compare him to Emile Nelligan, the Montreal-born poet. Nelligan’s poetry has depth and sophistication; for the most part, McGee’s poetry doesn’t. 

 

9. What is McGee's achievement? As a politician, he achieved what he worked towards, which is Canadian Confederation, but having achieved that he was also personally less and less popular with his constituency. 

10. Few things help to mythologize a life better than an untimely death; in this case McGee's assassination differentiates him from just about all of the other politicians at that time. The details of his death are that in April 1868, after speaking late into the night in the House of Commons, he returned to the humble rooming house where he lived in Ottawa, here he was murdered by Patrick Whelan. A few days later, over forty thousand people crowded Montreal streets as his funeral cortege passed. This was the beginning of his transformation from historical personage to mythological character. In this, he does what few poets, or politicians, achieve: he is remembered.

W.B. Yeats's Grave, Sligo, Ireland, July 1978

Back in July 1978, I visited my friend R.R. Skinner at Boisville, his home in Camberley, England. We had first met a few years before, in August 1974, after I attended Krishnamurti's Gathering in Saanen, Switzland. After visiting with RR I planned to spend some time in Ireland and flew into Dublin, then after a day or two I took the train across Ireland to Galway and then on to Sligo. It not only rained, it poured rain the whole time I was there. I was miserable. One day I took a bus tour to the grave of W.B. Yeat's, that was probably the same day I also visited Lissidale House, where Yeats stayed in his youth. I did my research for this trip the way poets do their research, which is after the fact... this perhaps accounts for the dismal nature of my trip to Ireland. Years later I decided I would never visit a place where I didn't know somebody, or where I didn't have a reason for visiting (for instance, a conference). The life of the tourist is not for me, it is given to loneliness and self-consciousnss, constant travel, exhaustion, trying to maintain an interest in siteseeing when I'd prefer to be at home reading a book, and associating with some questionable people. It's all perfectly dreadful! So, this is the highlight of my trip to Ireland: Yeats's grave, including the church near his grave, and a Celtic Cross gravestone, all within close proximity to each other. Yeats is (perhaps) the greatest English language poet of the 20th Century.