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  William Butler Yeats used symbols prominently in his poetry. This stemmed in part from the inuence of William Blake, whom Yeats admired and studied and who had developed an extensive system of symbols himself. Yeats was no mere imitator, however. He used symbols toward incredibly ambitious ends to reconcile binaries in pursuit of a unity of bein!. Rose  Yeats wrote a series of rose poems, includin! To the #ose $pon the #ood of Time,% The &ecret #ose,% The #ose Tree% and The #ose of the World.% 'or Yeats, the ower reconciles the binary of temporal and eternal. (t uni)es these concepts in two ways. 'irst, the rose maintains its position as a representative or touchstone of beauty unwaverin!ly. (n other words, roses never !o out of fashion. However,an actual individual rose lives *uite a short life.&imilarly, the rose symboli+es woman, both divine, transcendent woman and natural, sensual woman, and in doin! so, uni)es them. Stone $nlike the rose, the stone symbol does not unify opposed concepts. The stones dualism comes from the fact that the *ualities it represents -- solidity, steadiness -- may be positive or ne!ative. The stones immovability may indicate stren!th or stubbornness. s a result, stones often )!ure in poems in which  Yeats !rapples with his ambivalence about (relands political climate. (n /aster 0102,%  Yeats describes a stone in a rapidly owin! river. (n the ima!e, the stone participates in a dualism3 while the stone never moves, the water never rests. The stone never bends3 the water constantly chan!es shape to ow aroundany obstacles. Gyre  Yeats ima!ined time not as a line, but as a spiral. (n some poems the spiral appears as a windin! staircase, but the poets favorite ima!e was a !yre. 4yres are sewin! tools that have inverted conical shapes, like that of a tornado. s a symbol, the !yre characteri+es history as both pro!ressive and repetitive.  Yeats most famous reference to the !yre occurs in The &econd 5omin!% Turnin! and turnin! in the widenin! !yre 6 The falcon cannot hear the falconer.% (n this poem, the disinte!ration of the !yre si!nals the end of time. Water  Water7s si!ni)cance di8ers between poems.  Yeats sometimes uses it to represent another world and devotes his attention to species thatare able to move in and out of water dolphins,which breathe air, and swans that both y and swim. Yeats places this movement between water and air parallel to movement between life and death. (n both The Wild &wans at 5oole% and By+antium,% the speaker is a tired,a!ed man who is in awe of the immortality of the water-dwellin! creatures. While 5oole 9ark is an actual place, the sea beside By+antium is ima!ined by Yeats, and the two poems symbols di8er accordin!ly. The swans, !lidin! on actual waters, represent the eternity of nature. The dolphins, swimmin! in an ima!inedsea, allude to the #oman myth that dolphins carried souls to the afterlife.William Butler Yeats, an (rish poet, wrote :The &econd 5omin!: in 0101 at the close of World War (. (t7s a violent and mesmeri+in! poem thatoutlines the end of an era and a comin!, !reat destruction. (ts symbolism lar!ely centers around destruction and rebirth, and most analyses of the poem stem from these types of symbols. The Gyre  Yeats opens :The &econd 5omin!: with an ima!e of a falcon escapin! the falconer, swin!in! outward in a :widenin! !yre: -- a term Yeats coined to describe a circular path orpattern. s the falcon ies in !reat arcs away from the falconer, so the world spins out of control. The :!yre: was Yeats7 symbol of a human epoch of ;,<<< years. The poem framesa ;,<<<-year historical pro!ression, with the birth of 5hrist markin! the be!innin! and the war markin! the end. The Tide  The remainder of the )rst stan+a, after the :widenin! !yre,: deals with symbols of destruction and death. :Thin!s fall apart,: says Yeats, and :=ere anarchy is loosed upon the world.: He uses the symbol of a tide, :blood-dimmed,: drownin! innocence, that destroys hope and from which humanity needs salvation.  The Second Coming  Yeats introduces the symbol of the second comin! in the second stan+a, which is used as an answer to the )rst. The destruction of the )rst stan+a must stand for somethin!, and  Yeats sees it as heraldin! a new epoch, or !yre. Yeats draws on the lan!ua!e of the Book of #evelation to con>ure an ima!e of 5hrist7s return. He further included biblical symbolism when explainin! that for ;,<<< years ?one !yre@, the sleep of the &phinx was :vexed to ni!htmare by a rockin! cradle,: presumably of the 5hrist-child. The Sphinx  s soon as Yeats introduces the idea of a &econd 5omin! as salvation, he uses his most powerful symbol -- the &phinx -- to o8er his prediction of the future of the world and of humanity. s soon as he alludes to 5hrist, a :vast ima!e: of a pa!an reli!ion appears to wander toward Bethlehem. The symbol here is of the end of a reli!ion that, for Yeats, embodied hope and innocence. (ts power is !one, and the hour of the :rou!h beast: -- the &phinx, an allusion to pre-5hristian reli!ion -- has come around a!ain. TH/=/& The speaker is busy lookin! back to hisyouthful days of yonder in :Aown by the &alley4ardens,: so we know we7re dealin! with someideas related to memory and the past. &incethe ballad is about youn! love and all of theadvice kids never take ?come on, kids@, thespeaker7s past serves as a lesson to be learnedfor those who mi!ht )nd themselves in similarsituations. But he7s not actin! hi!h and mi!htyabout what he learned. ope, in fact he soundspretty honest about how foolish he was. t thesame time, we may come to reco!ni+e that thespeaker7s stru!!le is >ust part of !rowin! up.His lookin! to the past reminds him of howmuch he7s actually come to learn abouthimself, so maybe it was worth bein! an epicfail.Cove is one of those thin!s that can be themost ama+in! part of life when thin!s are!oin! well and also the tou!hest when thin!s!o bad. :Aown by the &alley 4ardens: !ives usa perfect scenario of the pictures*uecircumstances of love that are *uicklycountered by the less attractive conse*uencesof heartbreak. Bein! youn! and foolish doesn7thelp matters much either. s simple as lovemi!ht seem with weepin! willows and &nowWhite runnin! around, love can still make youend up bawlin! your eyes out in a public park.  The speaker of :Aown in the &alley 4ardens:makes youn! love out to be a kind of fairytalenestled in willow trees and pretty rivers. llthat7s missin! are the rainbows and unicorns.But then reality rears its u!ly head as he !etstoo pushy, which inevitably lands him in a poolof his own tearsDsad. &till, it7s all part of bein!youn! and learnin! some tou!h lessons thathelp us to !row up. /very youn! person atsome time has to take a trip on the pain train.ext stop adulthoodDand wisdom.&$==#Y The poem opens with the speaker meetin! hislove down by the salley !ardens ?whereverthose may beDit7s not clari)ed in the poem@.&he tells him to take love easy like the leaves!rowin! on the trees. But, since the speaker isyoun! and foolish, he doesn7t listen to her andpretty much blows her o8. Cater, the two arehan!in! out by a river and this time the !irlwith snow-white hands tells him to take lifeeasy. But a!ain, the speaker is youn! andfoolish, and ends up full of tears after nottakin! the youn! !irl7s advice. &ad times.&$==#&tan+a 0 &ummary 9a!e 04et out the microscope, because were !oin!throu!h this poem line-by-line.Cines 0-;Aown by the salley !ardens my love and ( did meet3 'irst thin!s )rst, &hmoopers. Eust what in thewide, wide world of sports is a :salley !arden:FWell, we7re happy you asked. The word :salley: is translated from its ori!inal4aelic ?saileach@ as a kind of willow tree. &othe :salley !ardens: we see here refers to akind of !arden with lots of willow trees. ?Here7sa photo of a pretty one.@ They7re also prettycommon in (reland, and we know Yeats wrote alot about all thin!s (rish. Here, the speaker meets his love in a !ardensurrounded by willow trees. (t7s a pretty typicalromantic settin!, so we7re already feelin! the  status *uo vibe of a typical ballad. otice too that the speaker is usin! a )rst-person point of view, so the romantic vibe isfelt even more since the poem sounds as if it7scomin! strai!ht from the speaker7s heart.5heck out our :&peaker: section for more. Cines G-&he passed the salley !ardens with little snow-white feet.(f the willow trees didn7t convince you thatwe7re dealin! with a typical ballad withromantic ima!ery, then the !irl7s :little snow-white feet: certainly will. Here the speaker7s love is passin! throu!h the!ardens lookin! pure, petite, and romantic. otice the perfect end rhyme we have too, inlines ; and  :meet: and :feet.: Balladsusually always work with perfect rhymes, soour speaker is keepin! with the tradition. We can also say a little bit about the kind of meter we7re seein! so far. (t seems the speakeris usin! a kind of iambic trimeter with theoccasional variant thrown in now and then.Hear that daA$= daA$= daA$= pattern,especially in the even-numbered linesF Thatmeans we have an unstressed syllablefollowed by a stressed syllable the combine atotal of three times for every line. This kind of meter makes for a very catchy rhythm thatsounds predictable, and is therefore easy toremember.5heck out our :'orm and =eter: section formore on how this poem is put to!ether.Cines I-2&he bid me take love easy, as the leaves !row on the tree3 ow we !et a bit of wisdom that the !irl islookin! to impart she tells the speaker to takelove easy or, in other words, don7t rush thin!sso much. Be like the leaves on the tree thattake their time to !row. We have a nice little simile here to helpillustrate the !irl7s advice. nd since we7redealin! with some more romantic, naturalima!ery with trees and such, we notice thatthe speaker is keepin! thin!s pretty consistentin terms of settin!.We wonder if these lush surroundin!s willinspire our speaker to take the !irl7s advice.Cet7s read on, !an!.Cines J-KBut (, bein! youn! and foolish, with her would not a!ree. By the time we !et to the end of the )rststan+a, we reali+e that the speaker is tellin!his story in retrospect, lookin! back. We !etthe feelin! that the speaker is si!ni)cantlyolder than the youn! man we see in the poem,especially since he tells us here that thesewere the days when he was :youn! andfoolish.:nd why is he foolishF We7re assumin! hedidn7t take his youn! lover7s advice andprobably rushed thin!s in their relationship.=aybe the !irl !ot scared, or maybe she fell inlove with someone less pushy. Who knowsF&o we7re dealin! with a speaker who7s lookin!back on his youn!, foolish, pushymisadventures. 9erhaps now he7s !ot somewisdom after bein! such an epic fail atrelationships. 5heck out our :Themes: sectionfor more on his lessons learned. This essay or poetry analysis of LAown by the&alley 4ardens by W B Yeats is mainlyconcerned with the theme of love and with themusicality of the style.The theme of love isfree and easy in its delivery, yet the poetsown feelin!s are not. He feels much lesscarefree about romance and feelin!s by theend of his poem than he seems to at thebe!innin! LAown by the salley !ardens my love and ( didmeet3 &he passed the salley !ardens with littlesnow-white feet. nd perhaps continues to feel a little morecynical and de>ected about lovin! relationshipsas his life pro!resses. Yeats describes how hislove passes the Lsalley !ardens in an easystyle. Here he is usin! an old (rish word forLwillow which reects both his love for theculture of his country and his interest in its folkmusic. &tories abound that he overheard anold woman Lcroonin! or Lkeenin! a few similarlines in a remote part of the countryside andthat he may have wanted to preserve them.He seems to be attemptin! to recreate thetune in an attempt to keep six similar beats.He chan!es it fre*uently, but still keeps to a  )rm structureL&he bid me take love easy, as the leaves !rowon the tree3 But (, bein! youn! and foolish, with her wouldnot a!ree. L Yeats seems to describe a suitor whoseattitude to love is heavy and deep, comparedto his sweetheart who is more li!ht-heartedand carefree about the whole love thin!. Thepunctuation varies the poem with stops andstarts here.L (n a )eld by the river my love and ( did stand, nd on my leanin! shoulder she laid her snow-white hand. L The poets use of the word Lleanin! su!!eststhat it is the !irl who has the upper hand andis comfortin! the speaker. The emphasis on theword Lwhite reminds readers of youth andinnocence. Her free and easy attitude to love isrepeated L&he bid me take life easy, as the !rass !rowson the weirs3 But ( was youn! and foolish, and now am fullof tears.But W B Yeats does not seem to have listenedto her advice to keep love li!ht and carefreelike the poem. By the end of this folk son!piece, his use of the past tense tells thereader that his >oyful early experiences of loveare far behind him, and his heavy attitude hasnot led to happiness in relationships in old a!e. The Cake (sle of (nnisfree% Summary  The poet declares that he will arise and !o to (nnisfree, where he will build a small cabin of clay and wattles made.% There, he will have nine bean-rows and a beehive, and live alone in the !lade loud with the sound of bees ? the bee-loud !lade%@. He says that he will have peace there, for peace drops from the veils of mornin! to where the cricket sin!s.% =idni!ht there is a !limmer, and noon is a purple !low, and evenin! is full of linnets win!s. He declares a!ain that he will arise and !o, for always, ni!ht and day, he hears the lake water lappin! with low sounds by the shore.% While he stands in the city, on the roadway, or on the pavements !rey,% he hears the sound within himself, in the deep hearts core.% The Lake Isle of InnisfreeSummary   Yeats expresses his desire to build a small cabin at (nnisfree, out of natural materials, andlive alone.He will )nd peace on the lake, where it drops from the mornin!, and the beautiful midni!ht.He determines to leave immediately, because even when he stands in a road or on a city pavement, he hears the lappin! of the lake waters in his heart.  Analysis  Yeats7s profession of love for nature is one of his most famous and beautiful poems. (t is unusual in this collection as it contains no references to the (rish nationalist movement, to =aude 4onne, or to ancient (rish mytholo!y. Yeats )rst wrote the poem in Condon, in 0K1<, where he was feelin! intensely homesick.(nnisfree, whose name means :heather island: in 4aelic, is an island o8 the coast of (reland of intense natural beauty. (t is located in 5ounty &li!o, which is where Yeats7s mother7s family came from, and which he identi)ed as the partof (reland and the world closest to his heart. (n the idea of buildin! a home there and livin! as a hermit, Yeats was inuenced by merican transcendentalists such as Thoreau. He wrote in a letter :=y father read to me some passa!e out of Walden , and ( planned to live some day in a cotta!e on a little island called (nnisfree.:  Analysis of W. B. Yeats' great early poem The Tale of Wandering Aengus , a beatiful and romantic, but mysterious, work. The &on! of Wanderin! en!us%, from W.B.  Yeats 0K11 collection, The Wind Among the eeds , is one of the best known of the obel pri+e-winnin! poets early works. Cike much of  Yeatss work from this time, it draws heavily on(rish mytholo!y, inextricably mixed with more personal themes from the poets life.
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