45 pages • 1 hour read
Summary
Background
Chapter Summaries & Analyses
Key Figures
Themes
Index of Terms
Important Quotes
Essay Topics
Tools
The poem “Leda” revolves around the ancient Greek myth in which the god Zeus, in the form of a swan, rapes the princess Leda. Among the children that result from the incident are Helen, whose kidnapping sparks the Trojan War, and Clytemnestra, who kills her husband Agamemnon after he returns from the Trojan War as retribution for sacrificing their daughter to persuade the gods to turn the winds so that he could sail for Troy. The poem describes Zeus’s assault on Leda with intensity, capturing its violent and overpowering nature. It then delves into the immediate and long-term aftermath of the encounter. The lines, “A shudder in the loins engenders there / The broken wall, the burning roof and tower / And Agamemnon dead,” reference the Trojan War and the death of King Agamemnon, indicating the far-reaching consequences of their union. The final lines meditate on Leda’s transformation after the experience. The question, “Did she put on his knowledge with his power / Before the indifferent beak could let her drop?” suggests that, during the brutal act, Leda might have inherited or absorbed some form of divine knowledge from Zeus (149).
Chapter 2 argues that “Each age unwinds the thread another age had wound” (152). The chapter traces cyclical patterns of rise and decline through the culture and art of European civilizations. The chapter begins by tracing Greek philosophy from its early holistic thought to the systematized philosophies of Plato and Aristotle, then uses Alexander the Great’s conquests to illustrate the cyclical rise and fall of empires, as Greek society post-Alexander shifted from intellectualism to materialism and nostalgia.
The chapter then shifts to trace the evolution of the concept of God from a creation of humanity to an external entity. Conceiving of God as prior to and independent of humankind diminishes man’s achievements and makes human wisdom seem inconsequential, the text asserts: “Night will fall upon man’s wisdom now that man has been taught that he is nothing” (155). The arrival of Christ signifies a transformative period by not only introducing divine love but also emphasizing pity for the human condition. Christ’s life and afterlife both coincided with and influenced ancient Rome. Yeats juxtaposes the decline of the bureaucratic Romans with the spirited Greeks and explores the ways Roman power and hierarchy were leveraged to bring about transformation, such as Emperor Constantine’s adoption of the cross.
Byzantine art encapsulates a harmonious melding of religious and artistic expression, showcasing the evolution from Roman grandeur to celestial depictions. The art of that era reflects cultural and theological shifts, particularly during the iconoclastic movements, culminating in divine reflections on humanity’s cyclic fate. The year 1050 AD marks the beginning of a shift from divine comprehension to human fragmentation, signified by diverse perceptions of beauty. During this era, Europe emerges as a secular force, producing artistic and architectural milestones like the Arthurian Tales and Gothic architecture. Dante’s 14th-century works herald the rise of individualism, and by the 15th century, art focuses on human suffering.
The Renaissance period and its artists, from Donatello to Shakespeare, underscore tensions between Eastern and Western artistic influences. As time progresses, there is a drift from humanist Renaissance values toward materialism. The “gyre” metaphor paints the cyclic revival of the “Emotion of Sanctity” in art from painting to prose (172). This cyclical pattern foretells a coming era dominated by mechanized forces, with tradition reigning supreme. In conclusion, the chapter reflects on societal decadence, postulating that a forthcoming era will be marked not by iconic individual figures but by groups. Emphasizing direct experience and human genius, future philosophy could border on fanaticism.
Finally, Yeats uses Botticelli’s artwork and the Cave of Mithra at Capri as examples to illustrate his ideas on recurrence (repeated themes or motifs across time) and sequence (a specific progression or interpretation of those motifs). Botticelli’s artwork, with its portrayal of apocalyptic themes and the eventual appearance of Christ, presents Biblical stories connected to annual and millennial cycles, but also depicts a chronological sequence in the unfolding of spiritual events. On the other hand, the Cave of Mithra at Capri, with its dual entrances representing separate paths for sailors and priests, embodies the recurring spiritual symbolism of caves across cultures, while also suggesting a sequential understanding or interpretation of spiritual journeys based on the chosen path. Together, these examples show how Yeats viewed historical and artistic symbols as cyclically repetitive yet progressive.
The cyclical nature of history continues as a prominent theme. Instead of seeing history as a series of unrelated events, Yeats posits a more conical shape, akin to interconnected spirals or gyres. In this model, history is a spiral, with societies experiencing periods of rise, peak, and decline. But it is not merely repetitive. Each cycle is distinct, building upon the last and setting the stage for the next, thus creating a sense of progression.
The poem “Leda and the Swan” encapsulates A Vision’s understanding of historical cycles. At face value, it recounts the mythological encounter between Zeus and Leda. However, beneath this narrative, Yeats weaves in the broader implications of that singular moment. The poem’s questions— “Did she put on his knowledge with his power / Before the indifferent beak could let her drop?” (149)—hint at the consequences that can emerge from singular events. Zeus’s assault on Leda does not exist in isolation; it is a pivotal moment that sets off a cascade of events, spiraling outward through time.
To truly grasp Yeats’s view, one must visualize history as a dynamic spiral. The spirals of history are both recursive, echoing past events, and progressive, marking new territory. While patterns might repeat, the circumstances, challenges, and outcomes of each cycle emerge from all that has come before. In “The Great Wheel and History,” Yeats further expands upon this cyclical view, offering a panoramic perspective on the ebb and flow of various civilizations. For instance, his exploration of the trajectory of ancient Greece, from its spiritual and artistic zenith to its intellectual and societal decline, exemplifies this cyclical understanding. The rise and fall of empires, including Alexander the Great’s conquests, represent phases in the great wheel of history, with each era giving way to another in a predictable, yet dynamic, rhythm. yet society’s decline is not always marked by visible signs of chaos or decadence. Sometimes, a society can fade not with a bang but with a whimper, gradually losing touch with its foundational beliefs and values. This sort of decline is different from the more visible moral and societal decay that we can observe in historical civilizations, such as those of ancient Greece and Rome.
Yeats’s poem “The Second Coming” helps to shed light on some of the underlying values at work here. The themes and imagery found in “The Second Coming” are closely related to the ideas Yeats developed in A Vision. The poem was written in 1919. The ideas that would form the foundation of A Vision were already germinating in Yeats’s mind and spiritual practices during the time “The Second Coming” was composed. The poem, with its imagery of societal collapse and the birth of something new yet potentially terrifying, aligns with his theory of historical cycles. Yeats believed that history moved in 2000-year cycles, with one age giving way to the next, just as the falcon in the poem moves in widening gyres away from the falconer. The fact that the “falcon cannot hear the falconer” suggests that communication and understanding have broken down (Yeats, William Butler. “The Second Coming.” 1919. Line 2). The poem’s imagery evokes a world losing its moral and spiritual center. In A Vision’s terminology, this is a society in which the antithetical has lost touch with the primary, in which belief systems no longer resonate with the immediate experiences and needs of the people. It is a society that has lost its way because it has become either too rigid and structured or too chaotic and unstructured.
However, amid this portrayal of decline, Yeats also hints at the possibility of renewal. The poem introduces the idea of cyclical rebirth with the coming of a “rough beast” that has been “slouch[ing] towards Bethlehem to be born” (“The Second Coming” 21-22). This reflects Yeats’s belief in historical cycles in which decline precedes rebirth. The new figure that emerges might not be comforting but indicates change and the start of a new cycle. This renewal would ideally be shaped by groups of people who value firsthand experiences and practical understanding over abstract theories. Yet this rebirth is not without potential drawbacks. With the excitement and energy of renewal can also come the risks of over-enthusiasm, which can manifest as extreme behaviors or even oppressive tendencies.
In Yeats’s perspective, the healthiest societies are those that find a balance in The Interplay of Duality and Unity. They manage to blend the energy and spontaneity of hands-on experiences with the stability and reflection provided by structure and planning. In his terms, this would be a balance between the antithetical and primary natures of existence. He perceives the primary as the spontaneous, intuitive, and immediate experiences of life, while the antithetical represents the structured, rational, and reflective side of existence. Neither overly chaotic nor stiflingly ordered, these societies respect both immediate experiences and the bigger picture, allowing them to thrive.
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By William Butler Yeats