Poems. William Butler Yeats

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      Poems

      PREFACE

      During the last year I have spent much time altering "The Countess Cathleen" and "The Land of Heart's Desire" that they might be a part of the repertory of the Abbey Theatre. I had written them before I had any practical experience, and I knew from the performance of the one in Dublin in 1899 and of the other in London in 1894 that they were full of defects. But in their new shape – and each play has been twice played during the winter – they have given me some pleasure, and are, I think, easier to play effectively than my later plays, depending less upon the players and more upon the producer, both having been imagined more for variety of stage-picture than variety of mood in the player. It was, indeed, the first performance of "The Countess Cathleen," when our stage-pictures were made out of poor conventional scenery and hired costumes, that set me writing plays where all would depend upon the player. The first two scenes are wholly new, and though I have left the old end in the body of this book I have given in the notes an end less difficult to producer and audience, and there are slight alterations elsewhere in the poem. "The Land of Heart's Desire," besides some mending in the details, has been thrown back in time because the metrical speech would have sounded unreal if spoken in a country cottage now that we have so many dialect comedies. The shades of Mrs. Fallan and Mrs. Dillane and of Dan Bourke and the Tramp would have seemed too boisterous or too vivid for shades made cold and distant with the artifice of verse.

      I have not again retouched the lyric poems of my youth, fearing some stupidity in my middle years, but have changed two or three pages that I always knew to be wrong in "The Wanderings of Usheen."

W.B. YEATS.

      June, 1912.

      PREFACE TO THE THIRD EDITION

      I have added some passages to "The Land of Heart's Desire," and a new scene of some little length, besides passages here and there, to "The Countess Cathleen." The goddess has never come to me with her hands so full that I have not found many waste places after I had planted all that she had brought me. The present version of "The Countess Cathleen" is not quite the version adopted by the Irish Literary Theatre a couple of years ago, for our stage and scenery were capable of little; and it may differ more from any stage version I make in future, for it seems that my people of the waters and my unhappy dead, in the third act, cannot keep their supernatural essence, but must put on too much of our mortality, in any ordinary theatre. I am told that I must abandon a meaning or two and make my merchants carry away the treasure themselves. The act was written long ago, when I had seen so few plays that I took pleasure in stage effects. Indeed, I am not yet certain that a wealthy theatre could not shape it to an impressive pageantry, or that a theatre without any wealth could not lift it out of pageantry into the mind, with a dim curtain, and some dimly lighted players, and the beautiful voices that should be as important in poetical as in musical drama. The Elizabethan stage was so little imprisoned in material circumstance that the Elizabethan imagination was not strained by god or spirit, nor even by Echo herself – no, not even when she answered, as in "The Duchess of Malfi," in clear, loud words which were not the words that had been spoken to her. We have made a prison-house of paint and canvas, where we have as little freedom as under our own roofs, for there is no freedom in a house that has been made with hands. All art moves in the cave of the Chimæra, or in the garden of the Hesperides, or in the more silent house of the gods, and neither cave, nor garden, nor house can show itself clearly but to the mind's eye.

      Besides rewriting a lyric or two, I have much enlarged the note on "The Countess Cathleen," as there has been some discussion in Ireland about the origin of the story, but the other notes are as they have always been. They are short enough, but I do not think that anybody who knows modern poetry will find obscurities in this book. In any case, I must leave my myths and symbols to explain themselves as the years go by and one poems lights up another, and the stories that friends, and one friend in particular, have gathered for me, or that I have gathered myself in many cottages, find their way into the light. I would, if I could, add to that majestic heraldry of the poets, that great and complicated inheritance of images which written literature has substituted for the greater and more complex inheritance of spoken tradition, some new heraldic images, gathered from the lips of the common people. Christianity and the old nature faith have lain down side by side in the cottages, and I would proclaim that peace as loudly as I can among the kingdoms of poetry, where there is no peace that is not joyous, no battle that does not give life instead of death; I may even try to persuade others, in more sober prose, that there can be no language more worthy of poetry and of the meditation of the soul than that which has been made, or can be made, out of a subtlety of desire, an emotion of sacrifice, a delight in order, that are perhaps Christian, and myths and images that mirror the energies of woods and streams, and of their wild creatures. Has any part of that majestic heraldry of the poets had a very different fountain? Is it not the ritual of the marriage of heaven and earth?

      These details may seem to many unnecessary; but after all one writes poetry for a few careful readers and for a few friends, who will not consider such details unnecessary. When Cimabue had the cry it was, it seems, worth thinking of those that run; but to-day, when they can write as well as read, one can sit with one's companions under the hedgerow contentedly. If one writes well and has the patience, somebody will come from among the runners and read what one has written quickly, and go away quickly, and write out as much as he can remember in the language of the highway.

W.B. YEATS.

      January, 1901.

***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.

      THE COUNTESS CATHLEEN

      "The sorrowful are dumb for thee"

Lament of Morion Shehone for Miss Mary Bourke

TO MAUD GONNE

The Scene is laid in Ireland and in old times

      SCENE I

      Scene. —A room with lighted fire, and a door into the open air, through which one sees, perhaps, the trees of a wood, and these trees should be painted in flat colour upon a gold or diapered sky. The walls are of one colour. The scent should have the effect of missal painting. Mary, awoman of forty years or so, is grinding a quern.

MARY

      What can have made the grey hen flutter so?

      (TEIG, a boy of fourteen, is coming in with turf, which he lays beside the hearth.)

TEIG

      They say that now the land is famine struck

      The graves are walking.

MARY

      There is something that the hen hears.

TEIG

      And that is not the worst; at Tubber-vanach

      A woman met a man with ears spread out,

      And they moved up and down like a