Yeats Poetry Quotes

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.

What can be explained is not poetry.

Out of the quarrel with others we make rhetoric; out of the quarrel with ourselves we make poetry.

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.

I bring you with reverent hands The books of my numberless dreams.

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.

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.

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

THAT crazed girl improvising her music. Her poetry, dancing upon the shore, Her soul in division from itself Climbing, falling She knew not where, Hiding amid the cargo of a steamship, Her knee-cap broken, that girl I declare A beautiful lofty thing, or a thing Heroically lost, heroically found. No matter what disaster occurred She stood in desperate music wound, Wound, wound, and she made in her triumph Where the bales and the baskets lay No common intelligible sound But sang, 'O sea-starved, hungry sea

Hope and Memory have one daughter and her name is Art, and she has built her dwelling far from the desperate field where men hang out their garments upon forked boughs to be banners of battle. O beloved daughter of Hope and Memory, be with me for a while.

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.

An intellectual hatred is the worst.

Mad Ireland hurt you into poetry.

I sat, a solitary man, In a crowded London shop, An open book and empty cup On the marble table-top. While on the shop and street I gazed My body of a sudden blazed; And twenty minutes more or less It seemed, so great my happiness, That I was blessed and could bless.

I will arise and go now, for always night and day I hear lake water lapping...I hear it in the deep heart's core.

There midnight's all a glimmer, and noon a purple glow, And evening full of the linnet's wings.

THOUGH you are in your shining days, Voices among the crowd And new friends busy with your praise, Be not unkind or proud, But think about old friends the most: Time's bitter flood will rise, Your beauty perish and be lost For all eyes but these eyes.

We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry.

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

I spit into the face of Time That has transfigured me.

How far away the stars seem, and how far Is our first kiss, and ah, how old my heart!

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.

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

No one who likes Yeats is capable of human intimacy.

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.

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.

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.

Come away, O, human child! To the woods and waters wild, With a fairy hand in hand, For the world’s more full of weeping than you can understand.

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.

Politics How can I, that girl standing there, My attention fix On Roman or on Russian Or on Spanish politics? Yet here's a travelled man that knows What he talks about, And there's a politician That has read and thought, And maybe what they say is true Of war and war's alarms, But O that I were young again And held her in my arms!

The Song of Wandering Aengus 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.

Yeah, I said. If there's one thing you can say for fascism, it had some good poets.

I went out to the hazel wood because a fire was in my head 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.... (Song of Wandering Aengus)

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?

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 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.

What they undertook to do They brought to pass; All things hang like a drop of dew Upon a blade of grass.

But he calls down a blessing on the blossom of the may, Because it comes in beauty, and in beauty blows away.

For [W. B.] Yeats magic was not so much a kind of poetry as poetry a kind of magic, and the object of both alike was evocation of energies and knowledge from beyond normal consciousness.

Ephemera Your eyes that once were never weary of mine Are bowed in sorrow under pendulous 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.

. . . after twenty centuries of stony sleep, what rough beast, its hour come round at last, slouches toward Bethlehem to be born?" W.B. Yeats - from 'The Second Coming

For it is love that I am seeking for, But of a beautiful, unheard-of kind That is not in the world.

Fellow-wanderer, Could we but mix ourselves into a dream, Not in its image on the mirror!

Because to him, who ponders well, My rhymes more than their rhyming tell Of the dim wisdoms old and deep That God gives unto man in sleep

Now as to magic. It is surely absurd to hold me “weak” or otherwise because I choose to persist in a study which I decided deliberately four or five years ago to make, next to my poetry, the most important pursuit of my life…If I had not made magic my constant study I could not have written a single word of my Blake book [The Works of William Blake, with Edwin Ellis, 1893], nor would The Countess Kathleen [stage play, 1892] have ever come to exist. The mystical life is the center of all that I do and all that I think and all that I write.

have so many merry little pots bubbling away in the fire of my enthusiasm: Myron, future trips, modern poetry, Yeats, Sitwell, T. S. Eliot, W. H. Auden, villanelles, maybe Mlle, maybe The New Yorker or The Atlantic (poems sent out make blind hope spring eternal—even if rejections are immanent), spring: biking, breathing, sunning, tanning. All so lovely and potential.

our tragedy begins humid. in a humid classroom. with a humid text book. breaking into us. stealing us from ourselves. one poem. at a time. it begins with shakespeare. the hot wash. the cool acid. of dead white men and women. people. each one a storm. crashing. into our young houses. making us islands. easy isolations. until we are so beleaguered and swollen with a definition of poetry that is white skin and not us. that we tuck our scalding. our soreness. behind ourselves and learn poetry. as trauma. as violence. as erasure. another place we do not exist. another form of exile where we should praise. honor. our own starvation. the little bits of langston. phyllis wheatley. and angelou during black history month. are the crumbs. are the minor boats. that give us slight rest. to be waterdrugged into rejecting the nuances of my own bursting extraordinary self. and to have this be called education. to take my name out of my name. out of where my native poetry lives. in me. and replace it with keats. browning. dickson. wolf. joyce. wilde. wolfe. plath. bronte. hemingway. hughes. byron. frost. cummings. kipling. poe. austen. whitman. blake. longfellow. wordsworth. duffy. twain. emerson. yeats. tennyson. auden. thoreau. chaucer. thomas. raliegh. marlowe. burns. shelley. carroll. elliot… (what is the necessity of a black child being this high off of whiteness.) and so. we are here. brown babies. worshipping. feeding. the glutton that is white literature. even after it dies. (years later. the conclusion: shakespeare is relative. white literature is relative. that we are force fed the meat of an animal that our bodies will not recognize. as inherent nutrition. is not relative. is inert.)

The innocent and the beautiful have no enemy but time.

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.

HIS chosen comrades thought at school He must grow a famous man; He thought the same and lived by rule, All his twenties crammed with toil; 'What then?' sang Plato's ghost. 'What then?' Everything he wrote was read, After certain years he won Sufficient money for his need, Friends that have been friends indeed; 'What then?' sang Plato's ghost. ' What then?' All his happier dreams came true -- A small old house, wife, daughter, son, Grounds where plum and cabbage grew, poets and Wits about him drew; 'What then.?' sang Plato's ghost. 'What then?' The work is done,' grown old he thought, 'According to my boyish plan; Let the fools rage, I swerved in naught, Something to perfection brought'; But louder sang that ghost, 'What then?

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? 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.

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.

I heard the old, old man 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 man say, "All that is beautiful drifts away Like the waters.

I've been very influenced by folklore, fairy tales, and folk ballads, so I love all the classic works based on these things -- like George Macdonald's 19th century fairy stories, the fairy poetry of W.B. Yeats, and Sylvia Townsend Warner's splendid book The Kingdoms of Elfin. (I think that particular book of hers wasn't published until the 1970s, not long before her death, but she was an English writer popular in the middle decades of the 20th century.) I'm also a big Pre-Raphaelite fan, so I love William Morris' early fantasy novels. Oh, and "Lud-in-the-Mist" by Hope Mirrlees (Neil Gaiman is a big fan of that one too), and I could go on and on but I won't!

Birds are everywhere in our literature, a part, it seems, of our collective poetic imagination. If writing a beautiful line of poetry fills a poet's heart with joy, imagine how that same poet's soul must take flight at the sight of swallows soaring through the evening sky!

IMITATED FROM THE JAPANESE A MOST astonishing thing — Seventy years have I lived; (Hurrah for the flowers of Spring, For Spring is here again.) Seventy years have I lived No ragged beggar-man, Seventy years have I lived, Seventy years man and boy, And never have I danced for joy.

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*.

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, re-made, like a casket of gold For my dreams of your image that blossoms a rose in the deeps of my heart.

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.

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

I love poetry, he said. I love Yeats. Yeah, I said. If there’s one thing you can say for fascism, it had some good poets.

If war is the test of reality, then all poetry is unreal; but in that case unreality is a virtue.

If war is the test of reality, than all poetry is unreal; but in that case unreality is a virtue.

To me the supreme aim (of "arranging" one's ideas and writing poetry) is an act of faith and reason to make one rejoice in the midst of tragedy.

That crazed girl improvising her music, Her poetry, dancing upon the shore, Her soul in division from itself Climbing, falling she knew not where. —W. B. Yeats

For poetry makes nothing happen.

I will arise and go now. To a place called Innisfree. And I shall have some peace there, For peace comes dropping slow, Dropping from the veils of the morning To where the cricket sings

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 has 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...

I lost my father; my father lost everything. That is the absolute loss that his silence in the hospital foretold: the end of the mind, the end of the self, the end of being a part of all of this—the harbor, the city, the poetry, the world. “He became his admirers,” a different poet, W. H. Auden, wrote of Yeats when the latter died. Now we who loved my father are all that is left of him.

Don’t start arguments. They are futile and take us away from our purpose. As Yeats noted, your important arguments are with yourself. If you don’t agree with me, don’t listen. Think about something else.

When we are high and airy hundreds say That if we hold that flight they'll leave that place, While those same hundreds mock another day Because we have made our art of common things. from At the Abbey Theatre

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 depths 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.

P.S. Mrs. Maugery lent me a book last week. It’s called The Oxford Book of Modern Verse, 1892–1935. They let a man named Yeats make the choosings. They shouldn’t have. Who is he—and what does he know about verse? I hunted all through that book for poems by Wilfred Owen or Siegfried Sassoon. There weren’t any—nary a one. And do you know why not? Because this Mr. Yeats said—he said, “I deliberately chose NOT to include any poems from World War I. I have a distaste for them. Passive suffering is not a theme for poetry.” Passive Suffering? Passive Suffering! I nearly seized up. What ailed the man? Lieutenant Owen, he wrote a line, “What passing-bells for these who die as cattle? Only the monstrous anger of the guns.” What’s passive about that, I’d like to know? That’s exactly how they do die. I saw it with my own eyes, and I say to hell with Mr. Yeats.

Round these men stories tended to group themselves, sometimes deserting more ancient heroes for the purpose. Round poets have they gathered especially, for poetry in Ireland has always been mysteriously connected with magic.

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.

My anthology continues to sell & the critics get more & more angry. When I excluded Wilfred Owen, whom I consider unworthy of the poets' corner of a country newspaper, I did not know I was excluding a revered sandwich-board Man of the revolution & that some body has put his worst & most famous poem in a glass-case in the British Museum-- however if I had known it I would have excluded him just the same. He is all blood, dirt & sucked sugar stick (look at the selection in Faber's Anthology-- he calls poets 'bards,' a girl a 'maid,' & talks about 'Titanic wars'). There is every excuse for him but none for those who like him. . . .(from a letter of December 26, 1936, in Letters on Poetry from W. B. Yeats to Dorothy Wellesley, p. 124).

How can we know the dancer from the dance? Did Yeats create his poems, or did his poetry make him a poet? How does one separate the creator from his creation? They create each other. On a mutual plane of reference, one has no existence without the other.

...I grow snakes for hair to hold the venom secreted from this heart loaded too heavily with all they hate about themselves and if they hiss it's only because like any monster I've long since lost my own right to scream" - from "Medusa", Reduction Fired

Various ambitions to complete the poem, to see it in print, to enjoy the gratification of someone's comment about it—serve in some measure as incentives to the writer's work. Though each of these is reasonable, each is a threat to the other ambition of the poet, which is to write as well as Keats, Yeats, or Williams—or whoever it was who scribbled onto a page a few lines whose force the reader once felt and has never forgotten. Every poet's ambition should be to write as well. Anything else is only a flirtation.

...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 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?

A turning point in the criticism of Hardy’s poetry came in his centenary year, in which W. H. Auden (1940) recorded his indebtedness to Hardy for his own education in matters of poetic technique. .......................... In a radio interview, Larkin defended his liking for Hardy’s temperament and way of seeing life: ‘He’s not a transcendental writer, he’s not a Yeats, he’s not an Eliot; his subjects are men, the life of men, time and the passing of time, love and the fading of love’. Larkin freely acknowledges the influence on him of Hardy’s verse, which results in his rejection of Yeats as a poetic model. ........................................ It is a similar kind of response that gave rise to an important study by Donald Davie (1973). Davie feels that ‘in British poetry of the last fifty years (as not in America) the most far-reaching influence, for good or ill, has been not Yeats, still less Eliot or Pound, not Lawrence, but Hardy’, and that this influence has been deleterious.

Σαν του χρόνου έρθ΄η νάρκη και με τρίχες λευκές πλάι στο τζάκι ως θα είσαι για στοχάσου και σκέψου τη γλυκιά τη ματιά σου. Μα και πάλι ονειρέψου τις βαθιές και χαμένες των ματιών σου σκιές. Πόσοι να’ χουν λατρέψει τις γλυκές σου στιγμές κι αγάπησαν - ποιος ξέρει - τη γαλήνια μορφή σου; Ποιος να λάτρεψεν όμως την αλήτρα ψυχή σου και τις θλίψες σου που άλλαζαν μύριες μορφές; Στη θρακιά σκύβει τώρα - σιγοτρέμουν τα χέρια, μουρμουρίζει τη θλίψη, πως η αγάπη περνά, ξεκινάει κι ανεβαίνει σε βουνά μακρινά τη μορφή του να κρύψει σε κόρων’ απ’ αστέρια. W.B. Yeats, μετάφραση Μ. Καραγάτσης

অ্যানা গ্রেগরীকে ‘এমন যুবককে ভালোবেসো না, যে মরিয়া তোমার সোনালী চুলের প্রতি কুন্তল লতিকা বেয়ে নেমে আসা স্বর্ণোজ্বল ঢেউ…আহা! মস্তক অবনতি। যে তোমাকে ভালোবাসে স্রেফ তোমার জন্য রেশমি সোনালী চুল কিংবা বাকি সব গৌণ এমন যুবককে চাও।’ ‘কিন্তু, আমি একটা হেয়ার-ড্রাই কিনেছি, বাদামি, কালো কিংবা কমলা কোরেছি, তবুও অই যুবক মরিয়া- আমাকে ভালোবাসে স্রেফ আমার জন্য রেশমি সোনালী চুল কিংবা বাকি সব গৌণ।’ ‘আমি এক ধর্মভীরু বুড়ো’র কাছ থেকে, জেনেছি হে প্রিয় গতকাল রাতে যে ঘোষণা সে দিল, তাও শুনে নিও তাঁর কাছে নাকি কোন পুঁথি আছে, প্রমাণের জন্য একমাত্র স্রষ্টাই নাকি ভালোবাসতে পারে তোমাকে, স্রেফ ভালোবাসার জন্য রেশমি সোনালী চুল কিংবা বাকি সব গৌণ।

I don’t know when I started to realize that my country’s past was incomprehensible and obscure to me, a real shadowy terrain, nor can I remember the precise moment when all that i’d believed so trustworthy and predictable—the place I’d grown up, whose language I speak and customs I know, the place whose past I was taught in school and in university, whose present I have become accustomed to interpreting and pretending I understand—began to turn into a place of shadows out of whcih jumped horrible creatures as soon as we dropped our guard. With time I have come to think that this is the true reason why writers write aboutn the places of childhood and adolescence and even their early touth: you don’t write about what you know and understand, and much less do you write because you know and understand, but because you understand that all your knowledge and comprehension is false, a mirage and an illusion, so your books are not, could not be, more than elaborate displays of disorientation: extensive and multifarious declarations of preplexity. All that I thought was so clear, you then think, now turns out to be full of duplicities and hidden intentions, like a friend who betrays us. To that revelation, which is always annoying and often frankly painful, the writer responds in the only way one knows how: with a book. And that’s how you try to mitigate your disconcertion, reduce the space between what you don’t know and what can be known, and most of all resolve your profound disagreement with that unpredictable reality. “Out of the quarrel with others we make rhetoric,” wrote Yeats. “Out of the quarrel with ourselves we make poetry.” And what happens when both quarrels arise at the same time, when fighting with the world is a reflection or a transfiguration of the subterranean but constant confrontation you have with yourself? Then you write a book like the one I’m writing now, and blindly trust that the book will mean something to somebody else.

Yeats—himself, we should note, deeply involved with the struggle for Irish independence—once said, “We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry.” On the other side of the question, many feel that the abrasions of history upon, within, and against individual lives have been part of poetry’s domain from the start, and that whatever affects a person belongs in poems, and can be joined there to all the rest—the emotional with the intellectual; the personal with the social; the public and the private; the natural world and the humanly made; the coldness of stone and the humanly felt; the knowledge of violent injustice and the longing for lyrical transcendence.

When boys called Bob and Bono would bring their own wild-rhythm celebration and the world would fall down in worshipful hallelujahs as it again acknowledged Ireland's capacity to create missionaries. So what if they were "the boys in the band"? They sang from a pulpit, an enormous pulpit looking down on a congregation that would knock your eyes out. A city that had produced Joyce and Beckett and Yeats, a country that had produced poet-heroes and more priests and nuns per head of population than almost any on earth was not going to spawn boys who just wanted to stand before a packed hall of gyrating teenagers and strum their guitars and sing. They had to have a message. One of salvation; they were in it to save the world. Like I said, we're teachers, missionaries.

MICHAEL ROBARTES 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 wove 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 gray 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 But flame on flame, deep under deep, Throne over throne, where in half sleep Their swords upon their iron knees Brood her high lonely mysteries.

I know a ton of poetry by heart,” Tartt says, when I comment on her recital of the Nabokov rhyme. It’s true. She has an alarming ability to simply break into passages, short or long, from her favorite writing. She quotes, freely and naturally, from Thomas Aquinas, Cardinal Newman, Buddha, and Plato—as well as David Byrne of Talking Heads and Jonathan Richman of the Modem Lovers. And many others. “When I was a little kid, first thing I memorized were really long poems by A. A. Milne,” she says. ‘‘Then I went through a Kipling phase. I could say ‘Gunga Din’ for you. Then I went into sort of a Shakespeare phase, when I was about in sixth grade. In high school, I loved loved loved Edgar Allan Poe. Still love him. I could say ‘Annabel Lee’ for you now. I used to know even some of the shorter stories by heart. ‘The Tell-Tale Heart’—I used to be able to say that. ‘‘I still memorize poems,” she says. ‘‘I know ‘The Waste Land’ by heart. ‘Prufrock.’ Yeats is good. I know a lot of poems in French by heart. A lot of Dante. That’s just something that has always come easily to me. I also know all these things that I was made to learn. I’m sort of this horrible repository of doggerel verse.

In Memory of W. B. Yeats I He disappeared in the dead of winter: The brooks were frozen, the airports almost deserted, And snow disfigured the public statues; The mercury sank in the mouth of the dying day. What instruments we have agree The day of his death was a dark cold day. Far from his illness The wolves ran on through the evergreen forests, The peasant river was untempted by the fashionable quays; By mourning tongues The death of the poet was kept from his poems. But for him it was his last afternoon as himself, An afternoon of nurses and rumours; The provinces of his body revolted, The squares of his mind were empty, Silence invaded the suburbs, The current of his feeling failed; he became his admirers. Now he is scattered among a hundred cities And wholly given over to unfamiliar affections, To find his happiness in another kind of wood And be punished under a foreign code of conscience. The words of a dead man Are modified in the guts of the living. But in the importance and noise of to-morrow When the brokers are roaring like beasts on the floor of the bourse, And the poor have the sufferings to which they are fairly accustomed And each in the cell of himself is almost convinced of his freedom A few thousand will think of this day As one thinks of a day when one did something slightly unusual. What instruments we have agree The day of his death was a dark cold day. II You were silly like us; your gift survived it all: The parish of rich women, physical decay, Yourself. Mad Ireland hurt you into poetry. Now Ireland has her madness and her weather still, For poetry makes nothing happen: it survives In the valley of its making where executives Would never want to tamper, flows on south From ranches of isolation and the busy griefs, Raw towns that we believe and die in; it survives, A way of happening, a mouth. III Earth, receive an honoured guest: William Yeats is laid to rest. Let the Irish vessel lie Emptied of its poetry. In the nightmare of the dark All the dogs of Europe bark, And the living nations wait, Each sequestered in its hate; Intellectual disgrace Stares from every human face, And the seas of pity lie Locked and frozen in each eye. Follow, poet, follow right To the bottom of the night, With your unconstraining voice Still persuade us to rejoice; With the farming of a verse Make a vineyard of the curse, Sing of human unsuccess In a rapture of distress; In the deserts of the heart Let the healing fountain start, In the prison of his days Teach the free man how to praise.

Or reading poetry. Now there was a job that should exist. To spend one’s days in the company of Blake and Dickinson, Yeats and Hopkins, Auden and Milton. To fill one’s mind with their wisdom, the music of their words. Today

We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry. - W. B. Yeats

Fiona MacLeod! There will ever be a grain of bitterness in my acknowledgement of him, or of Yeats, or of any of the modern Celtic twilighters, an irritable impatience of their pale fancies, their posturing sonorities and follies. Yet on a certain side they are 'getting' me, and sometimes a phrase, a thought, has positively uncanny, mesmeric power over my very flesh. This sort of dream poetry is clearly a drug, and of the most insidious... Then poetry casts its net, its iridescent net, and the silvery fish of intellect is meshed in the music of lost days and beauties forgone.

In what was probably her last poem, Plath drew on Shakespeare, Greek myth, Graves, de Chirico, Yeats, Teasdale, Lawrence, and Hughes to create art that was utterly new and strange—an alternate poetic tradition for women in the wake of her personal male “desertions” and betrayals. It was as if Plath had finally decided that maternity and poetry, womanhood and ambition, could not be reconciled.

Nobody looking at its dim folds can say where Christianity begins and Druidism ends

In my youth . . . my sacred youth . . . in eaves sole sparowe sat not more alone than I . . . in my youth, my saucer-deep youth, when I possessed a mirror and both a morning and an evening comb . . . in my youth, my pimpled, shame-faced, sugared youth, when I dreamed myself a fornicator and a poet; when life seemed to be ahead somewhere like a land o’ lakes vacation cottage, and I was pure tumescence, all seed, afloat like fuzz among the butterflies and bees; when I was the bursting pod of a fall weed; when I was the hum of sperm in the autumn air, the blue of it like watered silk, vellum to which I came in a soft cloud; O minstrel galleons of Carib fire, I sang then, knowing naught, clinging to the tall slim wheatweed which lay in a purple haze along the highway like a cotton star . . . in my fumbling, lubricious, my uticated youth, when a full bosom and a fine round line of Keats, Hart Crane, or Yeats produced in me the same effect—a moan throughout my molecules—in my limeade time, my uncorked innocence, my jellybelly days, when I repeated Olio de Oliva like a tenor; then I would touch the page in wonder as though it were a woman, as though I were blind in my bed, in the black backseat, behind the dark barn, the dim weekend tent, last dance, date's door, reaching the knee by the second feature, possibly the thigh, my finger an urgent emissary from my penis, alas as far away as Peking or Bangkok, so I took my heart in my hand, O my love, O my love, I sighed, O Christina, Italian rose; my inflated flesh yearning to press against that flesh becoming Word—a word—words which were wet and warm and responsive as a roaming tongue; and her hair was red, long, in ringlets, kiss me, love me up, she said in my anxious oral ear; I read: Milton! thou shouldst be living at this hour; for I had oodles of needs, if England didn't; I was nothing but skin, pulp, and pit, in my grapevine time, during the hard-on priesthood of the poet; because then—in my unclean, foreskinned, and prurient youth—I devoutly believed in Later Life, in Passion, in Poetry, the way I thought only fools felt about God, prayer, heaven, foreknowledge, sin; for what was a poem if not a divine petition, a holy plea, a prophecy:

In my youth . . . my sacred youth . . . in eaves sole sparowe sat not more alone than I . . . in my youth, my saucer-deep youth, when I possessed a mirror and both a morning and an evening comb . . . in my youth, my pimpled, shame-faced, sugared youth, when I dreamed myself a fornicator and a poet; when life seemed to be ahead somewhere like a land o’ lakes vacation cottage, and I was pure tumescence, all seed, afloat like fuzz among the butterflies and bees; when I was the bursting pod of a fall weed; when I was the hum of sperm in the autumn air, the blue of it like watered silk, vellum to which I came in a soft cloud; O minstrel galleons of Carib fire, I sang then, knowing naught, clinging to the tall slim wheatweed which lay in a purple haze along the highway like a cotton star . . . in my fumbling, lubricious, my uticated youth, when a full bosom and a fine round line of Keats, Hart Crane, or Yeats produced in me the same effect—a moan throughout my molecules—in my limeade time, my uncorked innocence, my jellybelly days, when I repeated Olio de Oliva like a tenor; then I would touch the page in wonder as though it were a woman, as though I were blind in my bed, in the black backseat, behind the dark barn, the dim weekend tent, last dance, date's door, reaching the knee by the second feature, possibly the thigh, my finger an urgent emissary from my penis, alas as far away as Peking or Bangkok, so I took my heart in my hand, O my love, O my love, I sighed, O Christina, Italian rose; my inflated flesh yearning to press against that flesh becoming Word—a word—words which were wet and warm and responsive as a roaming tongue; and her hair was red, long, in ringlets, kiss me, love me up, she said in my anxious oral ear; I read: Milton! thou shouldst be living at this hour; for I had oodles of needs, if England didn't; I was nothing but skin, pulp, and pit, in my grapevine time, during the hard-on priesthood of the poet; because then—in my unclean, foreskinned, and prurient youth—I devoutly believed in Later Life, in Passion, in Poetry, the way I thought only fools felt about God, prayer, heaven, foreknowledge, sin; for what was a poem if not a divine petition, a holy plea, a prophecy: [...] a stranger among strangers, myself the strangest because I could never bring myself to enter adolescence, but kept it about like a bit of lunch you think you may eat later, and later come upon at the bottom of a bag, dry as dust, at the back of the refrigerator, bearded with mold, or caked like sperm in the sock you've fucked, so that gingerly, then, you throw the mess out, averting your eyes, just as Rainer complained he never had a childhood—what luck!—never to have suffered birthpang, nightfear, cradlecap, lake in your lung; never to have practiced scales or sat numb before the dentist's hum or picked your mother up from the floor she's bled and wept and puked on; never to have been invaded by a tick, sucked by a leech, bitten by a spider, stung by a bee, slimed on by a slug, seared by a hot pan, or by paper or acquaintance cut, by father cuffed; never to have been lost in a crowd or store or parking lot or left by a lover without a word or arrogantly lied to or outrageously betrayed—really what luck!—never to have had a nickel roll with slow deliberation down a grate, a balloon burst, toy break; never to have skinned a knee, bruised a friendship, broken trust; never to have had to conjugate, keep quiet, tidy, bathe; to have lost the chance to be hollered at, bullied, beat up (being nothing, indeed, to have no death), and not to have had an earache, life's lessons to learn, or sums to add reluctantly right up to their bitter miscalculated end—what sublime good fortune, the Greek poet suggested—because Nature is not accustomed to life yet; it is too new, too incidental, this shiver in the stone, never altogether, and would just as soon (as Culp prefers to say) cancer it; erase, strike, stamp it out— [...]

William Butler Yeats was after the same point when he remarked: “We make out of the quarrel with others, rhetoric; but of the quarrel with ourselves, poetry.

যখন তুমি বুড়ো যখন তুমি জীর্ণ এবং ধূসর ঘুমে পরিপূর্ণ, এই আগুনের পাশে অল্প সময়ের জন্য, বইটা হাতে ধরো, এবং ধীরে ধীরে পড়ো, যে কোমল সুরৎ (বর্ণ) স্বপ্ন দেখো তুমি- উপচে পড়েছিল চোখ থেকে চুমি, অতঃপর, তাদের প্রতিচ্ছায়াও গভীর; কতলোক আহ্লাদের চটুলতায় ভেসে গিয়ে ভালোবাসতো তোমাকে, সত্যের মিথ্যার সাথে মিথ্যার কপট সততায়- ভালোবাসতো স্রেফ তোমার রূপকে, কিন্তু একজন, তোমার নবাগত আত্মাকে তীর্থযাত্রী রূপে ভালোবাসায় লিপ্ত, তোমার মুখের বাঁকে বাঁকে যে দুঃখ (যা আমারও অচেনা)- তাকেও ভালোবাসতো নির্লিপ্ত; প্রদীপ্ত কারাগারের পাশে নুয়ে পড়া গুঞ্জন, ফ্যাসাদ, একটু দুঃসময়, (যাই-হোক) পালিয়ে গেলো প্রেম উদ্ভাসিত পর্বতে এবং তারার ভিড়ে সে তাঁর মুখ লুকালো।

Gardening is like poetry in that it is gratuitous, and also that it cannot be done on will alone. What will can do, and the only thing it can do, is make time in which to do it. Young poets, enraged because they don’t get published right away, confuse what will can do and what it can’t. It can’t make a tree peony grow to twelve feet in a year or two, and it can’t force the attention of editors and publishers. What it can do is create the space necessary for achievement, little by little. I thought of this when reading yesterday the review of Leslie Farber’s new book by Anatole Broyard in the Times. A. B.’s first two paragraphs are as follows: “ ‘The attempt of the will to do the work of the imagination:’ W. B. Yeats applied this phrase to an incorrect approach to life. Ours, he says, is the age of the disordered will. It is our conceit that no human possibility is beyond our conscious will. T.S. Eliot had something similar in mind when he said that the bad poet is conscious when he should be unconscious and unconscious when he should be conscious. “Trying to will what cannot be willed, according to Mr. Farber, brings on anxiety, and this anxiety, in turn, cripples our other faculties so that we are left with nothing but anxiety about anxiety, a double unease. Among the things we try to will are happiness, creativity, love, sex, and immortality.