Rake Yeats Quotes

Suppose, in our time, the War actually comes. With no current refinements wasted, the elephantine blasts, fire storms, and fallout finish their appointed tasks. Several decades later the literary archaeologists from Tierra del Fuego and the Samoyedes rake loose from London's heaps part of a volume of literary criticism in which stand, entire, Yeats' lines 'My fiftieth year had come and gone'⁠—and the 'Second Coming,' with a few single lines quoted amid the unknown critic's comments. Then a gutted Pittsburgh mansion yields two charred anonymous sheets of a poem whose style⁠—what can be seen of it⁠—resembles Yeats. A fragmentary dictionary cites, as a rare alternate pronunciation of fanatic: "F⁠á-na-tic. Thus in W. B. Yeats' 'Remorse for Intemperate Speech'". There are similar further recoveries, equally scanty. So much for the poet whom T. S. Eliot has called the greatest of the twentieth century. But this has happened already, in time's glacial cataclysm, to the greatest lyric poet (so men say) of the West before the thirteenth century—to Sappho. And to Archilochos, whom some ancients paired with Homer. And to many others, the Herricks, Donne, and Herberts of Greece's first lyric flowering. For however much one may take it as unmerited grace that one at least has Homer, at least the iceburg tip of the fifth century and its epigones, one must still question the providence which allowed from the vastly different age between—the Lyric Age of the seventh and sixth centuries—only Pindar and the scraps for one other small book. That uniquely organic outgrowth of successive literary styles and forms in Greece—forms which are the ineluctable basis for most Western literature—is thus desperately mutilated for us in what seems to have been its most explosively diverse and luxuriant phase.