Loosed Quotes
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?
W.B. YEATS
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
….
The best lack all conviction, while the worst
Are full of passionate intensity.
In every crisis they appear, those famous and familiar lines from “The Second Coming,” written in 1919 by W. B. Yeats. Journalists and critics alike seem to take them as final assertions of Yeats’ own beliefs. Such innocent judgments do not ask why those lines open the poem, or for how long their assertions remain asserted. The poem itself has become lost behind the quotability of its opening lines. And Yeats, it seems, wants to be a pundit.
In our ready “yes, yes” to those lines, we think we are accepting the judgment of a sage, but by the time we reach the close of the poem — which is a question, not an assertion — we are driven to imagine the changing states of the writer composing this peculiar poem, and we raise questions. What feelings required Yeats to change his bold initial stance, and in what order did those feelings arise? In order to understand this poem, to free it from its ubiquitous misuses, and to restore it to both its opening grandeur and its subsequent humiliation, those are the questions that we must answer.
Yeats was an inveterate reviser of his own ever-laborious writing: recalling his difficulty in composing “The Circus Animals’ Desertion,” he confesses, “I sought a theme and sought for it in vain,/ I sought it daily for six weeks or so.” (Mention of that poem in his letters of the time prove this no exaggeration: I counted the weeks.) What was the obstacle suspending his progress? (He spends the poem finding out.) In “Adam’s Curse” he remarks in frustration, “A line will take us hours maybe.” Hours to do what? “To articulate sweet sounds together.” Yeats puts the sequence of sounds first; he composed by ear. Are the resulting sounds always “sweet” in the ordinary sense of the word? Not at all; but they are “sweet” in the internal order of rhythms and styles as the poem evolves. When the poet has articulated its theme, its sounds, and its lines to the best of his powers, the ear registers its satisfaction.
“The Second Coming” is a lurid refutation of the lurid Christian expectations of the Second Coming of Christ, which Jesus himself foretells in Matthew 29-3:
Immediately after the distress of those days, the sun will be darkened, and the moon will refuse her light, and the stars will fall from heaven, and the powers of heaven will rock; and then the sign of the Son of Man will be seen in heaven; then it is that all the tribes of the land will mourn, and they will see the Son of Man coming upon the clouds of heaven, with great power and glory.
Yeats proposes a surreal alternative to Jesus’ prophecy, proposing that on the Last Day we will see not Christ in majesty but a menacing, pitiless, and coarse beast who “slouches toward Bethlehem to be born.” “After us, the savage god,” Yeats had said as early as 1896. He watched through the decades, appalled by the sequential horror of world events: The World War from 1914-1918; the failed Easter Rising in Ireland in 1916; the Bolshevik Revolution in 1917. And his first assertions in “The Second Coming” are indeed thoughts prompted by such political upheavals (and by earlier ones — Marie Antoinette appears in the drafts).
But what sort of assertions does he choose to express his thoughts? After the octave of assertions, there is a break not entirely accounted for, since the whole poem is not written in regular stanzas, and there are no further breaks. The compressed sentiments preceding the break are undermined by the unexplained and increasing mystery of the poet’s phrases, bringing the reader into the perplexity of the poet. The whole octave is full of riddles: What is a gyre? Whose is the falcon? What is the centre the center of? Why all the passive verbs? Who loosed the anarchy? Whose blood, loosed by whom, has dimmed what tide? What is meant by the ceremony of innocence? Who are the best and who are the worst? Such abstract language, such invisible agents, and such unascribed actions persist in Yeats’ opening declarations, down to the period that closes the octave.
The quotability of Yeats’ opening passage derives, of course, from the total and unmodified confidence of its initial reportage, impersonal and unrelenting, offering a naked list of present-tense events happening “everywhere.” Stripped to their kernels, these are Yeats’s truculently unmitigated hammer-blows of grammar:
The falcon cannot hear
Things fall apart
The centre cannot hold
Mere anarchy is loosed
The blood-dimmed tide is loosed
Everywhere the ceremony of innocence is drowned
The best lack all conviction
The worst are full of passionate intensity
The break, after Yeats’ introductory eight-line block, leads an educated reader to expect that a six-line block will follow, completing a sonnet. Yet the poet finds himself unable to maintain his original jeremiad, which has been aggressive, omniscient, panoramic, and prophetic. Yeats “begins over again,” and utters in the fourteen lines following the break a complete second “sonnet,” a rifacimento of the one originally intended, in which he rejects his earlier rhetoric of impersonal omniscience as inauthentic from his human lips. Who is he to speak as though he could see the world with the panoramic scan proper only to God? That so many successive writers have been eager to reissue his lines reveals how greatly the human mind is seduced by the vanity of the unequivocal. Can we requote without unease what the poet himself immediately rejected?
Although “The Second Coming” begins with an attempt at couplet-rhyme, soon — as Peter Sacks has pointed out to me — the couplets begin to disintegrate, as though they themselves were intent on demonstrating how “things fall apart.” After the break, Yeats reveals in its wake a second attempt at a fourteen-line sonnet, one exhibiting a traditional “spillover” octave of nine lines (implying overmastering emotion in the writer) before a truthful closing “sestet” of five lines, making up the desired fourteen. The second, revisionary octave replaces the certainty of the poet’s original octave with the self-defensive uncertainty of “Surely.” Longing for a revelation more humanly reliable than an unsupported façade of godlike prophecy, Yeats insistently utters his second “Surely,” one no less dubious than the first. The second “Surely” attempts to locate a cultural myth to which he can attach the vision vouchsafed to him in a revelation arising within his human consciousness. “Surely the Second Coming is at hand. / The Second Coming!”
For the first time in the poem, we hear Yeats speaking in the first person, declaring that “a vast image out of Spiritus Mundi / Troubles my sight.” The poet is the sole spectator of this vast image, and he claims that it stems not from his own bodily sense of sight but from the World Spirit, a universal Spiritus Mundi always potentially able to rise into human awareness. (Poets so often describe the initial inspiration for a poem as something coming unbidden that the reader is not troubled by Yeats’ myth of a World-Spirit supplying the image for his revelation.) The poet has decided that it is more honest, more tenable, to write in the first person, to present himself as one whose imagination has reliably generated a telling and trustworthy “vast image” of his historical moment. He has forsaken his impressive but fraudulent rhetoric of omniscience for an account of his private inspiration.
Once Yeats has repudiated his initial “divine” posture as a guaranteed seer-of-everything-everywhere, he can take on, in the first person, his limited historical image-making self and create with it a “human” sestet for his newly “remade” sonnet. Admitting the fallibility of any transient metaphorical image, he acknowledges that his image vanishes, “the darkness drops again,” and he is left alone. Yet he grandly maintains, in spite of his abandoning a prophetic stance, that he now definitely “knows” something.
The “something” turns out to be a single historical fact: the exhaustion of Christian cultural authority after its “twenty centuries” of rule. His “vast image” — its nature as yet unspec-ified — has shown him that Christianity will be replaced by a counter-force, a pagan one. Drawing on his reading of Vico and Herbert Spencer, Yeats believed that history exhibited repetitive cycles of opposing forces. Just as Christianity overcame the preceding centuries of Egypt and Greece, now it is time for some power to defeat Christianity.
In his private “revelation” the poet has seen the Egyptian stone sphinx asleep “somewhere” in sands of a desert. (The uncertain “somewhere” admits the loss of the initial “everywhere” of Yeats’ prophetic opening.) The “stony sleep” of the Sphinx has lasted through the twenty centuries of Christianity, but now Fate has set an anticipatory cradle rocking in Bethlehem, birthplace of the previous god, and a sphinx-like creature rouses itself to claim supremacy:
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle…
Although the poet “knows” that Christianity is undergoing the nightmare of its death-throes, he cannot declare with any confidence what will replace it. He can no longer boast “I know that…”: he can merely ask a speculative question which embodies his own mixed reaction of fear and desire to the vanishing of a now outworn Christianity, the only ideological system he has ever known. What will replace the Jesus of Bethlehem, he asks, and invents a brutal and unaesthetic divinity, a sphinx seen in glimpses — “with lion body and the head of a man, / A gaze blank and pitiless as the sun.” The desert birds (formerly, it is implied, perched at rest on the immobile stone of the Egyptian statue) are now disturbed by the unexpected arousal of the “slow thighs” beneath them. The indignant birds, their movement in the sky inferred from their agitated cast shadows, “reel about,” disoriented, projecting, as surrogates, the poet’s own indignation as he guesses at the future parallel upheaval of his own world. Unable to be prophetic, unable now even to say “Surely,” the poet ends his humanly authentic but still unsatisfied sestet with a speculative question, one that fuses by alliteration “beast” and “Bethlehem” and “born”:
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

A conventional reading of the poem might take us this far. But no one, so far as I know, has commented that the culminating and ringing phrase, “Its hour come round at last,” is an allusion to Jesus’ famous statement to his mother at the wedding feast at Cana. When she points out to her son that their host has run out of wine, he rebukes her as he had once done in his youth when she had lost him in Jerusalem and found him preach-ing to the rabbis in the temple: “Wist yet not that I must be about my Father’s business?” (Luke 2: 48-49) At Cana, Jesus is even harsher as he tells his mother that he is not yet willing to manifest his divinity: “Woman, what have I to do with thee? mine hour is not yet come.” Not answering her son’s austere question, she simply says to the servants, “Whatsoever he saieth unto you, do it.” He tells them to fill their jugs with water, yet when they pour it is wine that issues, as, in silent obedience to his mother, Jesus performs his first miracle, even though to do so means changing his own design of when he will reveal his divinity. The evangelist comments: “This beginning of miracles did Jesus in Cana of Galilee, and manifested forth his glory” (John 2: 4-5,11). Unlike Jesus, who wished to delay his hour of divine manifestation, Yeats’ rough beast has been impatiently awaiting his own appointed hour, and it has come. His allusion to Jesus’ “Mine hour is not yet come” establishes a devastating parallel between the rough beast’s presumed divinity and that of Jesus, as the poet quails before the savage god of the future.
One senses there must be a literary bridge between the glorious “hour” of Jesus and the hideous hour of the rough beast. As so often, one finds the link in Shakespeare. In Henry V, Shakespeare alludes to Jesus’ remark, but adds the malice and impatience that will be incorporated by Yeats in his image of the rough beast. A French noble at Agincourt describes, in prospect, the vulturous hovering of crows waiting to attack the corpses of the English who will have died in battle. Eager for their expected feast on English carrion, “their executors, the knavish crows, / Fly o’er them, all impatient for their hour.” We know that the rough beast has been, like the crows, “all impatient for [his] hour,” because, once loosed on the world, he knows that his appointed hour, long craved by him, has come “at last.” Yeats had been alluding to Jesus’ words about the appointed hour ever since 1896: in his youthful poem “The Secret Rose,” a benign apocalypse is ushered in by the idealized romance symbol of the rose. He even remembered — writing in 1919 — his original inscription of the longing word “Surely” in the envisaged victory of the Secret Rose:
Surely thine hour has come, thy great wind blows,
Far-off, most secret, and inviolate Rose?
“Surely thine hour has come;” “Surely a revelation is at hand”: apocalyptic symbols thread their way through Yeats’ life-work. In the same volume as “The Secret Rose,” we find a contrastively violent version of the End Times, drawing on the sinister Irish legend of a battle in “The Valley of the Black Pig” ushering in what Yeats called “an Armageddon which shall quench all things in the Ancestral Darkness again.” Just as the brave warrior Cuchulain — in Yeats’ deathbed poem, “Cuchulain Comforted” — must be reincarnated as a coward to complete his knowledge of life, so the serene beauty of the Secret Rose must, to be complete, coexist with a twin, a wildness of apprehension. Maud Gonne, whom Yeats loved in frustration all his life, incarnated for him the conjunction of wildness and beauty:
But even at the starting post, all sleek and new,
I saw the wildness in her and I thought
A vision of terror that it must live through
Had shattered her soul.
Maud had already appeared in 1904 as the paradoxical “wild Quiet,” “eating her wild heart” (an image of wild love borrowed from the opening sonnet of Dante’s La Vita Nuova). She is the female companion to another apocalyptic creature, the Sagittarius of the zodiac; he is a Great Archer poised, his bow drawn, in the woods of Lady Gregory’s estate. He, like Shakespeare’s predatory birds, “but awaits his hour” to loose arrows upon a degenerate Ireland, where English archaeologists are sacrilegiously excavating sacred Tara and the ignorant Dublin masses are actually celebrating the coronation in England of Edward VII:
I am contented for I know that Quiet
Wanders laughing and eating her wild heart
Among pigeons and bees, while that Great Archer,
Who but awaits His hour to shoot, still hangs
A cloudy quiver over Pairc-na-lee.
By 1919, in “The Second Coming,” the Yeatsian apocalyptic symbol has shed its early romance component of the idealized Rose, has lost the starry constellation of the vengeful zodiacal Archer, and, in the hour of its Second Coming, has become “a vision of terror” like the one Yeats saw in the young Maud’s soul. Yeats had thought of calling his poem “The Second Birth,” but by renaming it “The Second Coming,” he ensured that in spite of the rocking cradle, all his recurrences of “Mine hour is not yet come” recall the self-manifestation of Jesus not as a child, but as the adult of Cana, the miracle-worker who will return to the world at the end of time.
“The Second Coming” is in fact a thicket of allusions. A hybrid one pointing to Spenser’s Faerie Queene and Milton’s Paradise Lost adds an opaque quality to the mythical dimension of the rough beast: he cannot be accurately described. Yeats presents him vaguely as “a shape,” borrowing from Spenser the concept of Death’s resistance to visual representation and from Milton the shapeless word “shape.” In Spenser’s first Mutability Canto, after a procession of months representing the passage of time, Death, symbol of the end of time, appears both seen and unseeable, “Unbodièd, unsouled, unheard, unseen”:
And after all came Life, and lastly Death;
Death with most grim and griesly visage seene,
Yet is he nought but parting of the breath;
Ne ought to see, but like a shade to weene,
Vnbodièd, vnsoul’d, vnheard, vnseene.
Imitating his master, the “sage and serious poet, Spenser,” Milton has his Satan meet Death, equally indescribable except by the word “shape” and its successive ever-less-visible negations (Milton substitutes “shadow” for Spenser’s Hades- issued “shade.”) Death confounds even Satan:
The other shape, If shap
e it might be call’d that shape had none
Distinguishable in member, joynt, or limb,
Or substance might be call’d that shadow seem’d,
For each seem’d either; black it stood as Night,
Fierce as ten Furies, terrible as Hell,
And shook a dreadful Dart; what seem’d his head
The likeness of a Kingly Crown had on.
Retaining the word “shape” but changing the concept of the shapeless shadowy “shape” inherited from his predecessors, Yeats attempts to describe in disarticulated images the nameless figure of his own chimerical “vast image” with a “lion body and head of a man,”: he adds a description of its gaze “blank and pitiless as the sun,” sexualizing it by the “slow thighs” unattached to any completed bodily description, and debasing it by its “slouching” motion, its lurching advance as it gradually reactivates its stony limbs. So grotesque is the figure, so unnameable by any visual word, that Yeats rejects even his own impotent efforts at specialized description, tethering his final question to the vague words “rough beast,” offering nothing but its genus. It is a generalized “beast” rather than a recognized species, let alone an individual creature.

There are, then, four evolving motions successively represent-ing Yeats’ mind and emotions in “The Second Coming.” We see first an impersonal set of prophetic declamations; these are replaced by a first-person narration of the appearance of the troubling “vast image” coming to replace the Chris-tian past; this, disappearing, is replaced by a “factual” account of the obsolescence of Christianity (“Now I know”); but after this flat declaration of secure knowledge, Yeats can muster no further direct object of what he “knows.” Instead, he launches a final speculative query (“And what rough beast”). These four feeling-states — impersonal omniscience; a first-person boast of a private “revelation”; a “true” historical judgment as to the nightmarish dissolution of the Christian era; and a blurred query uttered in fear — mimic the poet’s changes of response as he attempts to write down an accurate poem of this life-moment. A desire for authentically human speech has made him turn away from his initial confident (and baseless) soothsaying to a personal, transitory, (and therefore uncertain) private “revelation.” He tries finally to attain to truth in judging the end of the Christian era.
But what truth can he declare of what is to come? He acknowledges — in a move wholly unforeseen in the strong and quotable opening octave — how limited his “knowledge” actually is. The “darkness” of fear cannot be resoundingly swept away by a transitory image from an unknowable source: opacity drops again. By the end, Yeats must forsake his proposed prophetic and visionary and historical styles and resort to a frustrated human voice that confesses the helplessness of the human intellect and the humiliation of admitting incomplete knowledge. At the inexorable approach of an unknowable, shapeless, coarse, and destructive era, “the darkness drops again.”
It is not mistaken, however, to think of the resounding opening summary list as “Yeats’ views” as he begins the poem. He even quotes himself in a letter of 1936 to his friend Ethel Mannin, anticipating the next war: “Every nerve trembles with horror at what is happening in Europe, ‘the ceremony of innocence is drowned.’” The sentiments are genuine, but in a poem something more has to happen than the static observation of a moment in time. A credible artifact has to be constructed, the “sweet sounds” have to be articulated, and a persuasive structure has to be conceived. Since Yeats had lost faith in both Blakean denunciation and Shelleyan optimism by the time he wrote “The Second Coming,” he had gained the humility to confess, at the end of the poem, the limits of human knowledge and human vision. Though his diction is still grand in his closing, he is no longer boasting his seer-like knowledge, no longer claiming a unique private vision, no longer able to assuage the nightmare of the End Times of Christianity. To admit Yeats’ final acknowledgment of human incapacity is essential to perceiving his overreaching in his earlier claims to prophetic power and visionary insight.
Painful as it is to see the truncated opening lines — however memorable — become all that is left of the poem, and of Yeats’ character, in popular understanding, it is more painful to see the disappearance of the human drama of the poem in itself as it evolves, in its desire for authentically human speech and an authentic estimation of human powers — better and truer things than arrogant and stentorian utterances of omniscience. In repudiating his first octave of omniscience, making a break, and then having to write a different “sonnet” to attain a more accurate account of himself and his time, Yeats repeats, by remaking his form, his disavowal of the vain human temptation to prophecy. “Attempting to become more than Man, we become less,” said Blake, in what could serve as an epigraph to Yeats’ intricate and terrifying and regularly misread poem.