The Last Romantic : W. B. Yeats, Inspired by a Profound Romantic Urge
"Earth, receive an honoured guest:
William Yeats is laid to rest.
Let the Irish vessel lie
Emptied of its poetry."
William Yeats is laid to rest.
Let the Irish vessel lie
Emptied of its poetry."
W. H. Auden (1907 - 1973)
Like the romantic poets of the 19th Century, Yeats was also inspired by a profound romantic urge. He has also evinced in his poetry all the salient characteristics of romanticism, discerned in the poetical works of Wordsworth, Shelley, Keats and Coleridge. In perfect and close affinity with the Lake School of poets, he upheld the principles of humanism and love of nature.
The
romantic movement of the 19th century which brought about a thorough change in the
form and content of poetry was responsible for emancipating English Literature
from the neo-classical rigidity and strictest norms. Indeed the romantic poets
and specially the chief exponents of the romantic movement, namely Wordsworth,
Shelley and Coleridge rescued poetry from the neo-classical artificiality. Subsequently
W. B. Yeats is found to strike the very same note in the 20th Century English
poetry, which despite its wide range and astonishing variety, lacks the mellifluous lyricism of the
romantics. It would, of course, be a travesty of truth to hold such view that
the 20th century literature is artificial, flat, prosaic and jejune.
But
all the same it can be asserted without any fear of refutation that the modern English literature is characterized by a considerable dearth of romantic
exuberance, subjectivity and love of nature. Literature of the present century
is undoubtedly rich inasmuch as we find in it a mirror of the modern life— its
variegated complexity and the modes of complications. But although it is a faithful
reflection of life, it falls short of the emotive quality which constitutes the
sine qua non of romanticism.
W.
B. Yeats in the real vein of the romantics displayed almost all the qualities
of romantic poetry.
In
respect of the priceless gift of romantic imagination, he can be well compared
with the true romantics. His poems are soaked in the qualities which comprise
the residue of the essentially romantic values. In the critical parlance, the
term ‘last romantic has very loosely been attached to him.
Wikipedia: William Butler Yeats |
A
careful analysis of his poetry would amply justify the term which is apposite
and not at all unfounded. His poetry is marked by a plethora abundance of
romantic features. First and foremost, his poetry is richly coloured by his
great imaginative fecundity. His unbridled imagination may be evidenced by the
plenitude of symbols employed in his verses. The symbols have mostly been
culled from Irish national history and legends of remote antiquity. These have
been used for objectifying and externalizing personal emotions. Yeats put the
symbols so derived in curiously interesting texts, for giving vent to his
complex thoughts and reflections. Secondly his poetry is marked by a deep-rooted
humanism. This humanism enabled him to rise above the narrowness and myopia and
to widen the horizon of his mind. As is the wont of the romantic poets Yeats
too has a great fascination for beauty. He was a worshiper of beauty for
beauty’s sake. His craving for the countryside, the idyllic charm of the
pastoral landscape may be illustrated by his early poems. The captivating
beauty of nature used to attract him and under the spell of its irresistible
charm, he used to call others share it:
“Come
away 0 human child
To
the waters and the wild”.
He
was haunted by the sheer beauty of nature. In ‘the Rose’ group of poems, the
rose stands for beauty. Like Shelley, Yeats also had a great longing for beauty
which is unattainable. His imagination was also lured away by the beautiful
objects and the flora and fauna of nature. Thus his poetry contains exquisite natural
vignettes. With the flawless precision of a painter, he limned the enchanting
beauty of nature— the lakes and dales and gardens. His excellent poetic imagination
loved to dwell upon the marvelous scenic beauty of the pastoral setting of
Ireland. It would be pertinent to mention in the context that he exhibited a
keen sense (almost like that of the Pre-Raphaelites) of colour. A close textual
study would indubitably reveal that he emulated Keats in depicting nature..
More than any other romantic poet, Keats alone was capable of capturing the
wild, sensuous aspect of nature. Yeats too in close resemblance with Keats
painted the colourful and sensuous aspect of nature.
Moreover,
the romantic poets exhibited a great fancy for the strange phenomena of this
universe. The awe, wonder and mystery fascinated the romantic poets and.
particularly Coleridge. Yeats too like Coleridge brought the fairies and elfin
creatures in the magic world of poetry. Symbols like Hanrahan and Aedh bear
eloquent testimony to Yeats’s a love for strange and. supernatural aspects of
the world. Ireland is a strange place replete with the mysterious aspects of
nature. Yeats was also greatly influenced by the strangeness and mystery of his
country which have found a vivified expression in his poetry.
A
strong spirit of nationalism constitutes another distinctive feature of the Romantic Movement which swept the English soil in the 19th Century. Wordsworth, the
chief stalwart of the movement was greatly influenced by the national spirit.
Yeats was also a devout patriot and had a great urge for nationalism. He played
a pioneering role in the Irish national movement and inspired a host of other
celebrities to plunge headlong in the said movement. He loved Ireland with all
its strangeness and wonder. He was a veritable son of the soil.
Besides
all these, the romantic poetry is pro-eminently lyrical in character. The
subjective note is pronounced in the poetical works of almost all the romantic
poets. Wordsworth s Lucy poems and the other lyrics of Shelley, Keats and Byron
are some of the fine specimens of romantic lyric poetry. Yeats has also
expressed his personal emotions through the medium of poetry. His poems are
also equally subjective voicing forth the poet’s own feelings and
sentiments—his love and longing for Maud Gonne, his wistful hankering for the
spirit of the past, his concern for the old age, his whining and self-introspection,
his likes and dislikes.
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