Model Answer
0 min readIntroduction
William Butler Yeats, a pivotal figure in Irish literature and a leading modernist poet, grappled with profound anxieties about the state of the world in his later years, particularly as reflected in his ‘Last Poems’ (1939). These poems articulate a vision of history spiraling towards a violent and chaotic climax, often linked to the political turmoil in Europe and the rise of fascism. However, what distinguishes Yeats’s apocalypticism is not a sense of dread, but a peculiar anticipation, even a welcoming of this end. This apparent paradox – embracing destruction rather than fearing it – stems from his complex philosophical system, deeply rooted in occultism, Irish mythology, and a cyclical view of history, which saw destruction as a necessary precursor to renewal.
Yeats’s Apocalyptic Vision: The Second Coming and Beyond
Yeats’s most famous poem, “The Second Coming” (1919), encapsulates his initial apocalyptic anxieties. The poem depicts a world unraveling, symbolized by a “widening gyre” and the unleashing of a monstrous, sphinx-like creature representing a new, brutal era. This wasn’t merely a response to immediate events; it was part of a larger framework he developed through his study of esoteric traditions, particularly the writings of Helena Blavatsky and the concept of ‘cycles’ or ‘gyres’. He believed history moved in 2000-year cycles, and the Christian era was nearing its end, paving the way for a new, potentially terrifying, age.
The Roots of Non-Despair: Occultism and Cyclical History
The key to understanding Yeats’s lack of despair lies in his belief that this apocalyptic close wasn’t an absolute end, but a transition. His occult beliefs, particularly his involvement with the Hermetic Order of the Golden Dawn, led him to embrace a cyclical view of history. Destruction, in this framework, wasn’t annihilation but a necessary stage in a continuous process of birth, death, and rebirth. He saw the impending chaos as a cleansing force, breaking down the old order to make way for the new. This is evident in poems like “The Gyres” and “Coole Park and Ballylee”, where the cyclical nature of time and the inevitability of change are central themes.
The Nature of ‘Rejoicing’: Spiritual Liberation and Artistic Detachment
Yeats’s ‘rejoicing’ isn’t a celebration of violence or suffering. Instead, it represents a spiritual liberation from the limitations of the material world. He believed that attachment to earthly concerns – political ideologies, national identities, personal desires – was the source of suffering. The impending apocalypse, by dissolving these attachments, offered a path to freedom. This is reflected in his increasing detachment from Irish politics in his later poems. He moved away from direct engagement with nationalist struggles and focused on the realm of art and the spiritual world. The artist, in Yeats’s view, could transcend the chaos by focusing on creating enduring beauty and exploring the archetypal forces underlying reality. His late poems often exhibit a stark, almost austere beauty, reflecting this detachment.
The Role of the ‘Anti-Self’
Yeats’s concept of the ‘Anti-Self’, developed through his exploration of psychology and occultism, further illuminates his acceptance of the apocalyptic close. He believed that every individual possessed a shadow self, a darker, more primal aspect that needed to be integrated for wholeness. The apocalyptic chaos, in a sense, represented the unleashing of these repressed forces, a necessary step towards psychological and spiritual integration. This is not to say he *desired* chaos, but he recognized its inevitability and its potential for transformative power.
Examples in ‘Last Poems’
Poems like “Nineteen Nineteen” and “The Black Tower” demonstrate this complex interplay of dread and acceptance. While acknowledging the horrors of the post-war world, Yeats doesn’t succumb to despair. Instead, he focuses on the enduring power of art and the cyclical nature of history. The imagery of crumbling structures and violent upheaval is juxtaposed with a sense of calm detachment, suggesting a transcendence of the material realm.
| Poem | Key Themes | Relevance to the Paradox |
|---|---|---|
| “The Second Coming” | Apocalypse, cyclical history, loss of control | Establishes the initial apocalyptic vision, but lacks explicit despair. |
| “The Gyres” | Cyclical movement of history, opposing forces | Demonstrates the inevitability of change and the breakdown of existing structures. |
| “Nineteen Nineteen” | Post-war chaos, political disillusionment, artistic detachment | Illustrates acceptance of chaos and a focus on the enduring power of art. |
Conclusion
Yeats’s paradoxical vision of an apocalyptic close not as a cause for despair but for rejoicing is a testament to his complex and evolving philosophical outlook. Rooted in occultism, cyclical theories of history, and a belief in the spiritual liberation offered by detachment, his ‘Last Poems’ present a unique perspective on the human condition. He doesn’t celebrate destruction, but recognizes its inevitability and its potential for renewal, urging a transcendence of earthly concerns in the face of impending chaos. His work remains profoundly relevant today, offering a challenging and thought-provoking response to the anxieties of a world seemingly spiraling out of control.
Answer Length
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