W.B. Yeats - Poems

This blog has been assigned by Dr. Dilip Sir Barad and is about W.B. Yeats's poem. For further information, here is the blog link.Teacher's blog

 Compare the treatment of war in On Being Asked for a War Poem with other war poems by Wilfred Owen or Siegfried Sassoon.

  

            War Poem takes a strikingly different stance on war compared to the vivid and brutal war poetry of Wilfred Owen and Siegfried Sassoon. In Yeats’s brief poem, he rejects the idea that poetry should directly address the politics or violence of war. He famously writes, “I think it better that in times like these / A poet’s mouth be silent, for in truth / We have no gift to set a statesman right.” Yeats views poetry as something higher than temporary, worldly concerns, believing that its purpose lies in timeless beauty and universal truths rather than reacting to specific events.

      This philosophy sharply contrasts with the work of Owen and Sassoon, who believed it was their moral duty as poets and soldiers to depict the realities of war. Their poetry does not avoid war but instead dives into its horrors, using stark imagery and raw emotion to confront readers with its inhumanity.

Wilfred Owen: The Horrors of War

                 Wilfred Owen’s poetry is perhaps the most vivid depiction of the physical and emotional toll of World War I. In “Dulce et Decorum Est,” Owen dismantles the romanticized idea of war as noble and glorious. He recounts a gas attack, describing the chaos and agony of soldiers trying to survive:

"Gas! Gas! Quick, boys!—An ecstasy of fumbling, 

   Fitting the clumsy helmets just in time.”

             The scene is suffocating, filled with panic and death, ending with the haunting image of a soldier dying in agony. Owen concludes by calling the popular Latin phrase 

“Dulce et decorum est pro patria mori”

        meaning It is sweet and proper to die for one’s country a lie. This is not poetry that seeks to comfort; it aims to shatter illusions.

       In 'Anthem for Doomed Youth,' Owen compares the deaths of soldiers to cattle being slaughtered, writing:

'What passing-bells for these who die as cattle? 

Only the monstrous anger of the guns.'

             Here, Owen’s focus is on the futility of war and the lack of dignity in death for young soldiers. His poems are filled with sorrow, anger, and a need to expose the truth.

Siegfried Sassoon: Satire and Critique

          Siegfried Sassoon, like Owen, condemns the war but often uses biting satire to do so. In “Suicide in the Trenches,” he describes the mental toll war takes on a young soldier who ultimately ends his life. Sassoon then turns his scorn toward the civilians who cheer for war:

'You smug-faced crowds with kindling eye, 

Who cheer when soldier lads march by.'

         This condemnation highlights the ignorance of those who support war without understanding its devastating consequences.

         Sassoon’s 'The General' takes aim at military leadership, depicting a cheerful but incompetent general whose poor decisions lead to soldiers’ deaths:

‘Good-morning, good-morning!’ the General said… 

 But he did for them both by his plan of attack.’

      Sassoon’s tone is sharp and scornful, making his protest against the senselessness of war unmistakable.

Yeats vs. Owen and Sassoon: Contrasting Perspectives

            The fundamental difference between Yeats and poets like Owen and Sassoon lies in their views on the role of poetry during times of crisis. Yeats believed that poetry should remain above the chaos of the moment, focusing on beauty and universal ideas. His refusal to write a war poem reflects his belief that poetry should not serve a political or propagandistic purpose.

         In contrast, Owen and Sassoon saw poetry as a means of truth-telling. They believed it was their duty to expose the harsh realities of war and to challenge the lies of patriotism and glory. Their poems are unflinching in their descriptions of death, suffering, and disillusionment, written to force readers to confront the true cost of war.

Write a modernist-inspired poem reflecting on a contemporary global crisis, drawing on Yeats’s themes and technique :

Siegfried Sassoon: The Voice of War’s Brutality

              Siegfried Sassoon's poetry stands as a profound indictment of the horrors and futility of war. His works, written during and after World War I, expose the devastating physical, emotional, and psychological toll of combat. Unlike poets like Yeats, who distanced themselves from writing directly about war, Sassoon immersed himself in it, using his firsthand experiences as a soldier to create poetry that combined vivid imagery, raw emotion, and biting satire.

          In 'Suicide in the Trenches,' Sassoon captures the tragic loss of innocence and the mental toll war exacts on young soldiers. The poem begins with an image of a carefree youth:

'I knew a simple soldier boy 

 Who grinned at life in empty joy.'

               However, the tone quickly shifts as the soldier, unable to cope with the relentless horrors of trench warfare, ends his own life. Sassoon concludes with a scathing rebuke of the civilian populace:

'You smug-faced crowds with kindling eye,  

 Who cheer when soldier lads march by.'

            This closing highlights the detachment of civilians from the true cost of war, exposing their blind patriotism and ignorance.

       Similarly, in 'The General,' Sassoon critiques the incompetence of military leadership:

'Good-morning, good-morning!’ the General said…

  But he did for them both by his plan of attack.'

              Here, the cheerful demeanor of the general contrasts sharply with the deadly consequences of his actions, creating a biting satire of those in power. Sassoon’s portrayal of military leaders as out of touch and careless underscores the systemic failures that perpetuate war’s destruction.

     Through his unflinching depictions of war, Sassoon sought to challenge the glorification of combat and demand accountability from those who supported it. His poetry remains a powerful testament to the human cost of war and the importance of speaking truth to power.

Modernist-Inspired Poem Reflecting on a Contemporary Global Crisis

           Inspired by W.B. Yeats’s 'The Second Coming,' this poem explores the crisis of misinformation, social fragmentation, and loss of truth in the digital age. It uses Yeats’s themes of societal collapse, prophetic tone, and symbolic imagery while addressing modern concerns.

'The Algorithm Spins'

Turning, turning, the algorithm spins,

Threading falsehood through the seams of truth.

The center scrolls endlessly,

But nothing holds—no anchor, no root.

          Here, the poem opens with a direct homage to Yeats’s 'Turning and turning in the widening gyre' from 'The Second Coming.' The 'algorithm' becomes a modern symbol of chaos, representing the relentless churn of information and misinformation in the digital age. The lack of an “anchor” or “root” suggests the erosion of shared truths.

Voices rise in echo chambers,

A symphony of division and despair.

The falcon flies blind, chasing shadows,

While the falconer tweets into the void.

      The 'echo chambers' reflect how modern technology isolates people into ideologically homogeneous spaces, amplifying division and despair. The imagery of the falcon, reminiscent of Yeats’s falcon flying beyond the falconer’s control, symbolizes humanity's detachment from rational discourse. The falconer’s act of tweeting evokes the superficiality and noise of social media.

Is this the age foretold in ashes?

The age of knowledge built on sand?

Where every answer births a question,

And every question divides the land?

     These lines reflect Yeats’s apocalyptic vision while addressing the instability of modern knowledge systems. The metaphor of “knowledge built on sand” evokes the fragility of truths in an age dominated by misinformation. The notion that every answer creates division underscores the societal fragmentation caused by endless debates fueled by digital platforms.

Once, the poet sang of beauty,

Of truth’s immortal flame.

Now, we wander through flickering screens,

Lost in the glow of a nameless name.

           This stanza juxtaposes the timeless ideals of poetry beauty and truth with the fleeting and impersonal nature of digital culture. The 'flickering screens' and “nameless name” highlight the dehumanizing and transient aspects of the internet age, where identity and meaning are often obscured.

What beast lurks beneath the surface,

Slouching toward the next great lie?

It wears no form, no face, no voice,

Yet it whispers: multiply, divide.

              The poem concludes with a direct parallel to Yeats’s 'The Second Coming. 'The 'beast' here is not a physical entity but the intangible forces of division and manipulation. The final line, multiply, divide, serves as a haunting reflection of the mathematical operations driving algorithms that amplify division and chaos.

Analysis of Modernist Themes and Techniques

The poem employs several of Yeats’s modernist techniques:

1. Symbolism: 

      The algorithm, falcon, and beast serve as central symbols of chaos, detachment, and societal decline, echoing Yeats’s use of the gyre and the sphinx.

2. Prophetic Tone: 

          Like Yeats, the poem adopts an ominous, foreboding tone, suggesting an inevitable collapse if current trends continue.

3. Fragmentation: 

         The disjointed imagery reflects the fragmented reality of the digital age, mirroring the stylistic fragmentation of modernist poetry.

4. Universality: 

     While rooted in a contemporary context, the themes transcend specific events, making the poem relevant to broader concerns about human nature and society.

Do you agree with Yeats’s assertion in 'On Being Asked for a War Poem' that poetry should remain apolitical? Why or why not?

           I don’t fully agree with Yeats’s idea in On Being Asked for a War Poem that poetry should stay apolitical. While I understand his point that poetry should rise above the messiness of politics and focus on universal themes like beauty and truth poetry has often played an important role in addressing and commenting on the political issues of its time.

Yeats's View: Poetry Should Be Above Politics

             In the poem, Yeats suggests that poetry should not get involved in the politics or events of the time, especially war. He believed that poetry’s true job is to speak to timeless and universal truths, not to deal with the temporary issues like war or political conflicts. According to him, poetry should lift the human spirit and connect us to something greater than the chaotic and brutal realities of politics. By staying out of politics, poetry keeps its purity and power to speak across time.

The Other Side: Poetry Can Be Political

              But I think Yeats overlooks how poetry has often been a way for poets to speak out about political issues. For example, during World War I, poets like Wilfred Owen and Siegfried Sassoon wrote about the horrors of war and the way it was glorified. Owen’s Dulce et Decorum Est challenges the idea that it is sweet and honorable to die for one’s country. These poets used their poetry to criticize the political leaders who led people into war and to show the harsh reality of what soldiers faced. Far from staying apolitical, their poems were powerful political statements.

             Poetry, in these cases, was a way to stand up against the system and speak for the people who suffered. By not engaging with political issues, a poet might miss the chance to use their voice for change. Poetry can help people see things from a different perspective, inspire action, and raise awareness about injustice.

The Poet’s Responsibility

        Some might say that poets have a responsibility to engage with the world around them, including its political problems. Poets live in society, and their work is influenced by the world they live in. Ignoring politics in their poetry could be seen as a refusal to face the issues that affect people’s lives. If poets stay silent while injustice, war, or oppression happens, they might be turning a blind eye to the suffering around them. Poetry can be a powerful way to speak out against these issues.

Art and Politics Are Connected

             Even if a poet tries to avoid politics, the very act of choosing what to write about is a political choice. The themes a poet explores, the emotions they express, and the message they convey often reflect the world they live in. Even if a poet isn’t directly commenting on politics, their work can still be shaped by it. For example, poets like W. H. Auden and Langston Hughes wrote poems that directly addressed the political issues of their time, such as fascism and racism. Their poetry didn’t just escape politics it actively engaged with it.

Poetry Doesn’t Have to Be Either Political or Apolitical

            I believe that poetry doesn’t have to be purely apolitical or political; it can be both. Poetry can explore personal emotions, beauty, and nature, and it can also comment on the social and political world. The poet can choose what to focus on, but it doesn’t mean they have to avoid political topics if they feel moved to write about them. Yeats believed that poetry should be above politics, but in reality, poetry often reflects the world around it and can have a strong impact on the political issues of its time.

How does Yeats use imagery to convey a sense of disintegration in 'The Second Coming'?

    In The Second Coming, Yeats uses vivid and unsettling imagery to vividly depict a world in chaos and disintegration. The poem captures his sense of a collapsing society and a foreboding vision of the future. Yeats employs symbolic and apocalyptic images to show how the old world is falling apart and a strange, threatening force is emerging.

1. The Widening Gyre: A Symbol of Collapse

      The poem opens with the image of a 'widening gyre,' a spiraling motion that grows larger and more chaotic:

'Turning and turning in the widening gyre

 The falcon cannot hear the falconer.'

        Yeats uses the gyre to represent history and its cyclical nature. The widening of the gyre suggests that the current cycle is spinning out of control, leading to disorder. The falcon, which symbolizes humanity or civilization, has lost touch with the falconer, who represents guidance, order, or perhaps divine authority. This loss of connection creates a sense of instability, as if society has lost its anchor. The imagery suggests that the structures that once maintained balance and order are now failing.

2. Imagery of Chaos and Violence

      Yeats intensifies the sense of disintegration with stark and shocking lines:

"Things fall apart; the centre cannot hold; 

Mere anarchy is loosed upon the world."

        This imagery emphasizes the collapse of the centre, a metaphor for stability, unity, or authority. With the center gone, chaos reigns. The phrase "mere anarchy" conveys a world overcome by lawlessness, where nothing holds society together anymore. Yeats then introduces the image of a destructive flood:

"The blood-dimmed tide is loosed, and everywhere 

 The ceremony of innocence is drowned."

        The 'blood-dimmed tide' is a powerful metaphor for violence and destruction overwhelming the world. It evokes images of war, death, and moral decay. The "ceremony of innocence" being drowned suggests that purity, goodness, and moral values are being swept away in this tide of chaos. These images reflect Yeats’s deep anxieties about the state of the world, particularly in the aftermath of World War I and the social upheavals of his time.

3. The Beast: A New and Ominous Force

      As the old world collapses, Yeats introduces a new and terrifying image:

"A shape with lion body and the head of a man, 

A gaze blank and pitiless as the sun."

          This beast, which resembles a sphinx, is both strange and menacing. The 'lion body' represents physical power and savagery, while the "head of a man" adds an unsettling touch of intelligence or calculation. Its "blank and pitiless" gaze suggests an inhuman force, indifferent to suffering or morality. This grotesque creature symbolizes a new era rising out of the ruins of the old one an era driven by violence, chaos, and amoral power. The image of the beast conveys a sense of inevitability and dread, as if this force is unstoppable.

4. Birth and Apocalypse

         Yeats uses the imagery of birth to highlight both the end of one era and the beginning of another:

"And what rough beast, its hour come round at last, 

Slouches towards Bethlehem to be born?"

     The 'rough beast' is a disturbing symbol of a new age, one that is dark, unfamiliar, and dangerous. The word "slouches" conveys lethargy and inevitability, as if this force is moving slowly but surely toward its goal. Bethlehem, traditionally associated with the birth of Christ and hope, becomes a site of dread in Yeats’s vision. The birth of this beast suggests not salvation but destruction, blending creation and apocalypse in a single image.

5. Biblical and Mythological Allusions

           Throughout the poem, Yeats draws on Biblical and mythological imagery to deepen the sense of disintegration. The title, The Second Coming, refers to the Christian belief in Christ’s return to bring salvation. However, Yeats subverts this expectation by presenting a monstrous beast instead of a savior. This twist underscores the idea that the old religious and moral frameworks can no longer provide comfort or stability.

     Similarly, the beast’s resemblance to a sphinx evokes ancient myths, adding to the poem’s timeless and universal sense of doom. By blending Biblical and mythological elements, Yeats creates a rich and complex imagery that captures the universal fear of societal collapse and the unknown future.

6. Universal Disintegration

       Yeats doesn’t just focus on political or social collapse; his imagery suggests a much broader disintegration. The failure of the centre represents the collapse of values, traditions, and systems that once held the world together. The blood-dimmed tide and the drowning of innocence highlight the moral and spiritual decay of humanity. Yeats’s vision is not limited to his own time it resonates with any era marked by upheaval, uncertainty, and fear of the future.

Conclusion :

   

          Yeats's On Being Asked for a War Poem avoids direct commentary on war, focusing instead on the timeless role of poetry, unlike Wilfred Owen and Siegfried Sassoon, who vividly depict the horrors of war to criticize its brutality. Yeats’s apolitical stance suggests poetry should transcend political issues, sparking debate about whether art should engage with societal crises. His modernist approach, evident in The Second Coming, uses vivid imagery and symbols to reflect chaos and disintegration, themes that resonate with contemporary global crises. Whether detached or politically charged, Yeats’s work highlights poetry’s power to provoke thought and address universal truths.

 

Thank you for reading 

Reference:-

"W.B. Yeats's Poems: The Second Coming - - On Being Asked for a War Poem." ResearchGate,https://www.researchgate.net/publication/387659837_WB_Yeats's_Poems_The_Second_Coming_-_-_On_Being_Asked_for_a_War_Poem. Accessed 10 Jan. 2025.