19 pages • 38 minutes read
The Greek myth of Leda is referenced several times throughout the poem. In Greek mythology, Leda was an Aetolian princess who caught the attention of the God Zeus (not the first nor last to face this particular misfortune). Zeus came to Leda in the form of a swan, and from this union two children were born: Polydeuces, the hero, and Helen, who would go down in history as the beautiful woman who broke Troy. In “Among School Children,” Yeats uses the symbolism of Leda and the Swan to compare the woman of his imaginings—thought to be the woman Maud Gonne—to the beautiful Helen of Troy.
In the second stanza, he says “I dream of a Ledaean body” (Line 9), meaning a body like that of the princess Leda’s, and later, “even daughters of the swan,” (Line 20) referring to the daughter of Zeus in his swan shape. In the fourth stanza, the poet says, “And I though never of Ledaean kind / Had pretty plumage once” (Lines 29-30), suggesting that he could never compare to the beauty of Leda and her daughter Helen, though his bird shape was attractive enough. This repeated mythological motif gives the poem a sense of unity and joins the down-to-earth qualities of the classroom with the godly beauty and wonder of the poet’s daydreams.
In the second stanza, Yeats introduces one of his most vibrant and powerful symbols, playing off of Plato’s philosophy: “Or else, to alter Plato’s parable, / Into the yolk and white of the one shell” (Lines 15-16). Here he shows how, after commiserating over a trivial childhood experience, the woman reminiscent of Helen of Troy and the speaker felt so natural and understood that they formed two intertwined halves of a perfect whole. Like the yolk and white of an egg, neither can come into being without the other, and if one is removed then the other collapses. This suggests that in that moment each felt incomplete without the other, and whole in their presence.
It is worth noting, also, that the woman Helen was born from an egg, rather than by a normal birthing process. This creates a connection again to the woman of the poem and to the references to swans and plumage visited repeatedly throughout the text.
In the final stanza, Yeats closes with two rhetorical questions, beginning with “O chestnut tree, great rooted blossomer, / Are you the leaf, the blossom or the bole?” (Lines 61-62) as a symbol for life. In the first line, he shows the two farthest reaches of the tree: great roots below and blossoms high above. In very little space he conveys a sense of vastness and height, a distance between where we come from and our farthest potential. Then he asks which is the true nature of the tree: the leaves, the flowers, or the trunk. The answer, of course, is all three. This idea is taken farther in the next line, comparing the dancer to the dance, and how they do not exist separate from each other. The chestnut tree demonstrates that in all aspects of life, all is interconnected—humanity’s origins, labor, joys, and art. Much like the symbol of the egg, they become synergetic pieces of a broader whole.
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By William Butler Yeats