The Cutting of an Agate

by W. B. Yeats

In a few years the Four Masters were to write the history of that time, and they were to record the goodness or the badness of Irishman and Englishman with entire impartiality. They had seen friends and relatives persecuted, but they would write of that man’s poisoning and this man’s charities and of the fall of great houses, and hardly with any other emotion than a thought of the pitiableness of all life. Friend and enemy would be for them a part of the spectacle of the world. They remembered indeed those Anglo-French invaders who conquered for the sake of their own strong hand, and when they had conquered became a part of the life about them, singing its songs, when they grew weary of their own Iseult and Guinevere. The Four Masters had not come to understand, as I think, despite famines and exterminations, that new invaders were among them, who fought for an alien State, for an alien religion. Such ideas were difficult to them, for they belonged to the old individual, poetical life, and spoke a language even, in which it was all but impossible to think an abstract thought. They understood Spain, doubtless, which persecuted in the interests of religion, but I doubt if anybody in Ireland could have understood as yet that the Anglo-Saxon nation was beginning to persecute in the service of ideas it believed to be the foundation of the State. I doubt if anybody in Ireland saw that with certainty, till the Great Demagogue had come and turned the old house of the noble into ‘the house of the Poor, the lonely house, the accursed house of Cromwell.’ He came, another Cairbry Cat Head, with that great rabble, who had overthrown the pageantry of Church and Court, but who turned towards him faces full of the sadness and docility of their long servitude, and the old individual, poetical life went down, as it seems, for ever. He had studied Spenser’s book and approved of it, as we know, finding, doubtless, his own head there, for Spenser, a king of the old race, carried a mirror which showed kings yet to come though but kings of the mob. Those Bohemian poets of the theatres were wiser, for the States that touched them nearly were the States where Helen and Dido had sorrowed, and so their mirrors showed none but beautiful heroical heads. They wandered in the places that pale passion loves, and were happy, as one thinks, and troubled little about those marching and hoarse-throated thoughts that the State has in its pay. They knew that those marchers, with the dust of so many roads upon them, are very robust and have great and well-paid generals to write expedient despatches in sound prose; and they could hear mother earth singing among her cornfields:

‘Weep not, my wanton! smile upon my knee;
When thou art old there’s grief enough for thee.’

VII

There are moments when one can read neither Milton nor Spenser, moments when one recollects nothing but that their flesh had partly been changed to stone, but there are other moments when one recollects nothing but those habits of emotion that made the lesser poet especially a man of an older, more imaginative time. One remembers that he delighted in smooth pastoral places, because men could be busy there or gather together there, after their work, that he could love handiwork and the hum of voices. One remembers that he could still rejoice in the trees, not because they were images of loneliness and meditation, but because of their serviceableness. He could praise ‘the builder oake,’ ‘the aspine, good for staves,’ ‘the cypresse funerall,’ ‘the eugh, obedient to the bender’s will,’ ‘the birch for shaftes,’ ‘the sallow for the mill,’ ‘the mirrhe sweete-bleeding in the bitter wound,’ ‘the fruitful olive,’ and ‘the carver holme.’ He was of a time before undelighted labour had made the business of men a desecration. He carries one’s memory back to Virgil’s and Chaucer’s praise of trees, and to the sweet-sounding song made by the old Irish poet in their praise.

I got up from reading the Faerie Queene the other day and wandered into another room. It was in a friend’s house, and I came of a sudden to the ancient poetry and to our poetry side by side—an engraving of Claude’s ‘Mill’ hung under an engraving of Turner’s ‘Temple of Jupiter.’ Those dancing country-people, those cow-herds, resting after the day’s work, and that quiet mill-race made one think of Merry England with its glad Latin heart, of a time when men in every land found poetry and imagination in one another’s company and in the day’s labour. Those stately goddesses, moving in slow procession towards that marble architrave among mysterious trees, belong to Shelley’s thought, and to the religion of the wilderness—the only religion possible to poetry to-day. Certainly Colin Clout, the companionable shepherd, and Calidor, the courtly man-at-arms, are gone, and Alastor is wandering from lonely river to river finding happiness in nothing but in that star where Spenser too had imagined the fountain of perfect things. This new beauty, in losing so much, has indeed found a new loftiness, a something of religious exaltation that the old had not. It may be that those goddesses, moving with a majesty like a procession of the stars, mean something to the soul of man that those kindly women of the old poets did not mean, for all the fulness of their breasts and the joyous gravity of their eyes. Has not the wilderness been at all times a place of prophecy?

VIII

Our poetry, though it has been a deliberate bringing back of the Latin joy and the Latin love of beauty, has had to put off the old marching rhythms, that once delighted more than expedient hearts, in separating itself from a life where servile hands have become powerful. It has ceased to have any burden for marching shoulders, since it learned ecstasy from Smart in his mad cell, and from Blake, who made joyous little songs out of almost unintelligible visions, and from Keats, who sang of a beauty so wholly preoccupied with itself that its contemplation is a kind of lingering trance. The poet, if he would not carry burdens that are not his and obey the orders of servile lips, must sit apart in contemplative indolence playing with fragile things.

If one chooses at hazard a Spenserian stanza out of Shelley and compares it with any stanza by Spenser, one sees the change, though it would be still more clear if one had chosen a lyrical passage. I will take a stanza out of Laon and Cythna, for that is story-telling and runs nearer to Spenser than the meditative Adonais:

‘The meteor to its far morass returned:
The beating of our veins one interval
Made still; and then I felt the blood that burned
Within her frame, mingle with mine, and fall
Around my heart like fire; and over all
A mist was spread, the sickness of a deep
And speechless swoon of joy, as might befall
Two disunited spirits when they leap
In union from this earth’s obscure and fading sleep.