January 7, 2012: Difference between revisions

Revision as of 08:17, 3 April 2022

Sailing to Byzantium^[1]
By: W. B. Yeats (1927)

1

That is no country for old men. The young
In one another’s arms, birds in the trees
—Those dying generations—at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long 5
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.

2

An aged man is but a paltry thing,
A tattered coat upon a stick, unless 10
Soul clap its hands and sing,^[2] and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come 15
To the holy city of Byzantium.

3

O sages standing in God’s holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul. 20
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

4

Once out of nature I shall never take 25
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enameling
To keep a drowsy Emperor awake;^[3]
Or set upon a golden bough to sing 30
To lords and ladies of Byzantium
Of what is past, or passing, or to come.

notes

↑ Yeats wrote in A Vision: “I think that if I could be given a month of antiquity and leave to spend it where I chose, I would spend it in Byzantium (Istanbul today) a little before Justinian opened St. Sophia and closed the Academy of Plato. . . . I think that in early Byzantium, maybe never before or since in recorded history, religious, aesthetic, and practical life were one, that architects and artificers . . . spoke to the multitude in gold and silver. The painter, the mosaic worker, the worker in gold and silver, the illuminator of sacred books were almost impersonal, almost perhaps without the consciousness of individual design, absorbed in their subject matter and that the vision of a whole people.”
↑ The poet William Blake saw his brother’s soul rising to Heaven, “clapping his hands for joy.”
↑ I have read somewhere that the Emperor’s palace at Byzantium was a tree made of gold and silver, and artificial birds that sang. [Yeats’ note.]

[1] Yeats wrote in A Vision: “I think that if I could be given a month of antiquity and leave to spend it where I chose, I would spend it in Byzantium (Istanbul today) a little before Justinian opened St. Sophia and closed the Academy of Plato. . . . I think that in early Byzantium, maybe never before or since in recorded history, religious, aesthetic, and practical life were one, that architects and artificers . . . spoke to the multitude in gold and silver. The painter, the mosaic worker, the worker in gold and silver, the illuminator of sacred books were almost impersonal, almost perhaps without the consciousness of individual design, absorbed in their subject matter and that the vision of a whole people.”

[2] The poet William Blake saw his brother’s soul rising to Heaven, “clapping his hands for joy.”

[3] I have read somewhere that the Emperor’s palace at Byzantium was a tree made of gold and silver, and artificial birds that sang. [Yeats’ note.]

[1]

[2]

[3]

@@ Line 1: / Line 1: @@
 {{Journal-Top}}<div style="padding-top: 30px;">
-{{Center|{{Large|Sailing to Byzantium}}<br />
+{{Center|{{Large|Sailing to Byzantium}}{{refn|Yeats wrote in ''A Vision'': “I think that if I could be given a month of antiquity and leave to spend it where I chose, I would spend it in [[w:Byzantium|Byzantium]] (Istanbul today) a little before [[w:Justinian I|Justinian]] opened St. Sophia and closed the [[w:Academy of Plato|Academy of Plato]]. . . . I think that in early Byzantium, maybe never before or since in recorded history, religious, aesthetic, and practical life were one, that architects and artificers . . . spoke to the multitude in gold and silver. The painter, the mosaic worker, the worker in gold and silver, the illuminator of sacred books were almost impersonal, almost perhaps without the consciousness of individual design, absorbed in their subject matter and that the vision of a whole people.”}}<br />
 By: '''[[w:W. B. Yeats|W. B. Yeats]]''' ([[w:Sailing to Byzantium|1927]]) }}
 <div style="display: flex; justify-content: center; padding: 25px 0 25px 0;">
@@ Line 29: / Line 29: @@
 O sages standing in God’s holy fire
 As in the gold mosaic of a wall,
-Come from the holy fire, {{H:title|A reel or spool on which something is wound.|perne}} in a {{H:title|To whirl around in a spiral.|gyre}},
+Come from the holy fire, {{H:title|A reel or spool on which something is wound.|perne}} in a {{H:title|A vortex. Yeats associated a gyre with the spinning of fate.|gyre}},
 And be the singing-masters of my soul. {{ln|20}}
 Consume my heart away; sick with desire
@@ Line 47: / Line 47: @@
 </poem>
 |}</div>
+{{Rlnk|url=https://www.reddit.com/r/LitWiki/comments/tv8v2n/yeats_sailing_to_byzantium/}}
 {{Notes}}

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