Question

conclusion about w b yeast
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Answer 1

Answer:

This chapter is the conclusion of the observations made on the themes and

symbols in the later poetry of W.B.Yeats. In the preceding chapters that have

endeavored to demonstrate how Yeats used themes and symbols in an entirely poetic

framework. Coming as they do from strictly religious sources, these symbols and

themes, while operating within the context of his poems, often undergo a drastic

change yielding an entirely non-religious meaning. Similarly, themes are utilized as a

poetic tool or machinery, and are hence treated in a non-Christian way in his poems as

well as in the plays.

Critics sometimes complain that Yeats's symbology is mainly based on his

private myth of A Vision and hence is not very communicative. A close study of his

symbols removes this complaint, for the Themes and symbols come from well-known

religious sources. For example, rose, cross, dance, Byzantium—to mention only a few

of the impressive ones—are all traditional symbols which are public and

communicative. Even the solar and lunar symbols—the sun standing for action and

violence, the moon for reflection and imagination—are, private to Yeats alone.

Similarly “even the thirteen cycles in the poet‟s extremely private and esoteric

mythical system may be considered reminiscent of Christ and the Twelve Apostles”.

(Identity, 159). To list of the main Yeastian symbols one may add the tree and towers

which admittedly are not very private. The gyre makes the list almost complete; and it

is easy to see how the whirling gyre is an extension of the fixed cross of the

antinomies of his poetry.

The crux of the problem regarding Yeats‟s symbology lies in the fact that it is

more a literary than a philosophical or religious problem.

Explanation: