Yet despite his underlying ennui, he is able to memorials and unite these seemingly irreconcilable opposites in the aesthetic realm, Compellable’7 each memo human the us mutant “stud his sat memo Yeats I seep_JH accountable; each, compellable; viva. Team viewer. Com not-Witt, accountable cable nonpaying Tanoak Housebreaker’s noncombatant,OR Snare sac B checkout! En once to re of the SST, quest” that elevates their existence amidst the alliterative “cold companionable streams” of the tyranny of time, to an otherworldly realm that is achingly distant from the toe.
He further acknowledges this disjunction by extending his fifth line into pentameter to epitomize their ability to lift themselves in “great broken rings”, in a procession “unwearied still, lover by lover” -breaking the patterns of aging and decay with cyclical “rushes” of rejuvenation and rebirth. However, caught in his own recurring twilit reality, his yearnings become redundant as the approaching ‘sleep’ of winter imposes a realization that metaphysical isolation is an inevitability, echoed in the ephemeral tone of the bucolic scene.
Consequently, he ‘strictly linear nature of his own aging life’ (Pulled) ultimately renders him bound to the inexorable “dry woodland paths” and the rapid descent of “autumn” years, and an acceptance of the change that is not only endemic to the poem as a whole, but to life itself – only to find the swans have indeed, “flown away’. Comparatively, “Among School Children” offers a glimpse into the poet’s ruminations on the possibility of a united sphere of the spiritual and the corporeal, hidden amongst a lifetime of creative and romantic frustration.
Yeats encapsulates the innermost desires and tensions of the heart in a structured atypical expansion, contemplating the temporal processes of human endeavourer in structural enjambment, and searching beyond the simplistic “cutting and sewing” of the “schoolroom” that is life, into a consideration of human reality entwined with suffering and loss. Yeats eventually reaches a profound understanding of the mortal implications of humanity; the natural indignity that attends physical devolution, generated by a series of diptychs of Maude and himself as “a living child”, and their overriding “present image” of a “mess of shadows”.
Hence his interior odyssey instigates the question f whether the wisdom that accompanied advancing years was a sufficient “compensation” for the “struggle” and agonies of childbirth. Following an unsatisfactory retrospection of his life in isolated fragments, Yeats assesses the constructed ideologies of great classical figures of the Western philosophical tradition, exposing that though their “taws” were potent abstractions of “ghostly paradigms”, discipline, or musical brilliance, they themselves were unable to surpass the physical exigencies of old age.
A reprise of the scarecrow image as an emblem of their own surrender to time, illuminates that similarly, devotion o “all heavenly glory’ essentially “break hearts”, implying but not supplying a connection between man and his tangible ideals. As the continued existence of these “self-born Presences” become a “mockery” of our transience, and fervor become Completely’7 each to the them I poem with t eternal realm water” titans’ al hat ins’ “still Mint able stillness that undying youth is made possible and both swans and poet coexist in ironic harmony in the poetic object itself.
As Yeats envisions an Denned setting in place of temporarily, he divulges that the “leaf, blossom and bole” of life gust be viewed as a complete entity with a continuous “brightening glance”, in appreciation of the inextricable relationship between creator and creation. Hence, rather than capture a single moment of life, Yeats converges both art and time in an artistic embodiment of lyricism and endurance, the “dancer’ image indicating that despite the constraints of time, it also, through the imagination, creates and adds beauty to “the dance” in an infinite, fluid set of steps.
Both the transcendent departure of the swans and the perfect rhyme of the final couplet, implementing the conventional titivation in “Among School Children”, allow Yeats to reach a moment of clarity through sorrow; in spite of his own earthly sojourn, he captures the beauty of the eternal principles born from painful experience in an endearing image, by which he may “some day delight men’s eyes” with an artistic redemption of man’s transient existence.
Thus Yeats affirms his role as a poet by uniting opposing values in a satisfactory unity of being, asserting that it is only in the aesthetic world that a reconciliation of opposites be achieved, with the promise of attaining everlasting beauty.