A Commentary on the Collected Poems of W. B. Yeats by A. Norman Jeffares

By A. Norman Jeffares

E-book: Poetry - W.B. Yeats Coomentary

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VIII. WHENCE HAD THEY COME? IX. THE FOUR AGES OF MAN X. CONJUNCTIONS XI. A NEEDLE'S EYE XII. MERU 33 1 33 1 332 332 333 333 333 Last Poems (1936-1939) 430 430 431 431 432 433 433 435 THE GYRES LAPIS LAZULI IMITATED FROM THE JAPANESE SWEET DANCER THE THREE BUSHES THE LADY'S FIRST SONG THE LADY'S SECOND SONG THE LADY'S THIRD SONG THE LOVER'S SONG THE CHAMBERMAID'S FIRST SONG THE CHAMBERMAID'S SECOND SONG AN ACRE OF GRASS WHAT THEN? i 337 338 340 340 341 343 344 34S 34S 34S 346 346 347 348 348 349 35° 351 352 3S4 355 356 358 3S9 3S9 359 3S9 360 361 364 435 440 443 444 445 454 454 45 5 455 455 456 456 458 460 462 462 464 465 469 471 472 473 473 474 474 474 474 475 475 477 A Commentary on the Collected Poems of W.

Its meaning as a symbol was intensified by Yeats's membership of the Golden Dawn, an occult society or Rosicrucian order (See note (p. 141) on 'The Mountain Tomb' (CP 136)) into which he was initiated by MacGregor Mathers, the author of The Kabbalah Unveiled, on 7 March 1890. See note (p. 56). From him and from the rituals of the Golden Dawn (which included Egyptian, Kabbalist and Christian imagery) Yeats learned of a series of geometric symbols that he could classify according to the four elements, and what the ancients called the fifth element and sub-divisions of these.

4 Grey Truth : in his teens Yeats began occasionally telling people that one should believe whatever had been believed in all countries and periods, and only reject any part of it after much evidence, instead of starting all over afresh and only believing what one could prove. (A 78) ; 7 A Commentary on the Collected Poems of W. B. Yeats 7 He had grown to hate science 'with a monkish hate' (A 82). He had made himself a new religion : almost an infallible Church of poetic tradition, of a fardel of stories, and of personages, and of emotions, inseparable from their first expression, passed on from generation to generation by poets and painters with some help from philosophers and theologians .

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