During the year of 1 916, Yeats’ spirits were low and embedded in this poem are the emotions he has towards the rejection, failure, and loneliness experienced wrought his life. Surprisingly, the poem deceives expectancy as it denies the reader the Irish themes and mythological references, however can be seen as a trim Completely’7 each tribute the mi seep_JH accountable; each, compellable; viva. Team viewer. Com IS one not-Witt, accountable cable nonpaying Yeats to Lad reflect we SE lands Tanoak Housebreaker’s noncombatant,OR Snare sac B checkout! His he odds and wild life. The setting and mentioning of the ‘nine-and-fifty Swans’ introduce themes of change, age, nature and immorality as well as ideas of transition, mysticism and the supernatural. Ultimately, the opening stanza contains references to nature, which is continuous throughout the poem. Just as the Alkalis or Lamenting would, the persona finds himself meditate on his loneliness, an attitude in this poem alongside side that of admiration, impatience, sadness, happiness, reflection, envy and melancholy.
Description of ‘the October Twilight’ in the introductory stanza creates a sad, melancholic feel as well as fear of change and coming nearer to the end. Fear is also applied to thoughts on his poetic and creative abilities going dry, ‘paths are dry’ creating a sense of desertion and lack of life. Studying the ‘nine-and-fifty Swans’ as they entail every action, his admiration conveys his loneliness and isolation as he has yet to find someone. Feeling lost and hopeless, he is the one Swan that is alone.
Despite the opening lines creating an ‘Autumn beauty’ reflecting Yeats’ depressing state of mind as this is the autumnal stage of his life, the ‘mirrors’ allow him to be reflective, creating a relaxed, peaceful and sweetly sad atmosphere. In his next stanza, Yeats decides to maintain the reference to Cooled Park, as it has been nineteen years since he’s been there. Nearly two decades going by conveys he theme of age as Yeats has gotten older and is writing this poem unmarried, childless, and early ass.
There is a sense of time passing him by and through his description draws attention to his aging whilst the Swans stay youthful, a striking contrast between the poet and setting with the Swans. Yeats as an individual juxtaposes to the Swans as species whose beauty will remain and not age, brought to light as they beautifully take offing unison. Yeats takes a reflective attitude within this stanza, becoming more aware that he is growing old, witnessing it is the ‘nineteenth autumn that has come upon’ him. Envious of the Swans as they remain youthful, he harks back to past experiences when times were happier for him.
However, it is important that we grasp the fact Yeats is aging whilst still keeping in touch with nature, signifying its significance in his life. Tranquility created by Yeats feeling nurtured and comforted by nature is disturbed as ‘suddenly’ the Swans assemble into the air ‘upon their clamorous wings’ and ‘mount’, pulling together associations with wildness, power, freedom and p As he admit in the vivo emote ninety t is past Yeats most definitely appears more emotional as he declares ‘my heart is sore’. Reminiscent upon the past and witnessing the dramatic changes in his life, there is the sense received by the reader that he has given up.
This soon changes as he decides to ‘trod with a lighter tread’ conveying acceptance, happiness, and perhaps more energy and enthusiasm to ‘trod’ his way further on his path of life. Towards the end of the poem, his fourth stanza enhances everything that has evolved so far in the poem. Jealousy of the Swans is due to the passion they engage with each other, passion which he has not yet found, highlighting Yeats’ loneliness at this part of his life. Due to the change over the years this stanza acts as a reflection of Yeats’ discouragement as a poet and lover; as well as reflect on his powers as a poet reducing with age.
Expressed by Yeats towards the end of the poem is frustration, as Yeats who has been affected by events does not apply to the Swans whom remain ‘Unwearied’. Isolated, envious, and lonely, Yeats appears as an outsider looking at the Swans being ‘lover by lover as they pass him and ‘paddle in the cold’. The hurt Yeats experiences is due to one study of the Swan reminding him of how they are better off, still have sense of passion, and Yeats feels utterly empty. Shown is Yeats being conscious and concerned of his age, making him feel he is becoming deprived of energy, the love of life, and his creative ability.
Despite his awareness of coming to the end of his life and being aware of things growing and changing, there is a growing acceptance of how life goes on and time passes him by; ‘streams’ being his reminder as they keep on flowing. Sibilance of ‘streams’ and ‘still’ show the stark juxtaposition between remaining idle and moving forward metaphorically through life. Overall, the stanzas comment on Yeats’ life coming nearer to an end and as he collects, everything around him remains with beauty and youth. He justifies the magical beauty of the Swans in the closing stanza, yet questions the fact they will not be there forever, as nothing ever is.
Echoing the melancholic mood of the opening stanza, Yeats focuses on the natural landscape in the closing stanza, creating a circular effect, showing Yeats’ life being ran and is now coming back around towards its end. Yeats appears to be in awe of the Swans evoking an attitude of loneliness as Yeats suggests the Swans will delight the eyes of other men I segue isolate of the sadder reject These In the are ‘In g him TTS loci be hey unity whilst the descriptive ‘beauty’ creates an idyllic scene and tone of ambivalence.
Manipulative lexical choice used by Yeats, using the common noun ‘autumn’ as an adjective, creates contrast and sets the tone of hopelessness as the stanza progresses. Yeats’ journey through life, now at its autumnal step lacks optimism as he walks the ‘paths’ ahead, delving into the future, emphasized by Yeats lamenting of his life and death. Use of ‘paths’ metaphorically, with the negative connotation of death and ‘dry’ endings, juxtaposes to ‘the water that ‘mirrors a till sky/ showing the contrast between life and death.
Yeats’ self reflection does not go unnoticed, using ‘mirrors’ to focus on his past, and emphasized by use of sibilance in ‘mirrors a still sky’ a hissing sound is created, thus a sardonic tone, expressing Yeats’ feelings on the change throughout his life. This contrasts to ‘stones’, an unchangeable and unmovable motif used by Yeats in this stanza showing ‘nine-and-fifty Swans’ as stable ‘upon the brimming water’ employing positive vitality, thus a connotation of peace and tranquility. Inverted syntax emphasizes their amount and the detail in which Yeats is paying close attention to.
This image is reflective of Yeats’ lonely position in life as he is the isolated Swan making the number uneven, thus incomplete just like him. This opening stanza impels the reader. As well as Yeats, the reader is driven to reflect on his or her own personal ‘paths’ of life. Yeats showing beauty and appreciation of the autumn scene and nature as a whole, with the ‘twilight’ creates a sense of magic and mysticism, intriguing the reader as well as seeing the comparison to Yeats’ earlier work.
From this, the reader feels further enchantment, as an image of ‘the October Twilight’ creates an atmosphere of serenity, emphasized by the soothing ‘water’ which ‘mirrors a still sky. At the end of the stanza, the reader is left confused, thus with a desire to read on, as the archaic ‘nine-and-fifty Swans’ is a strange use of lexis, we are left to question why he would say this and not ‘fifty nine’, perhaps bringing us to the conclusion Yeats himself was confused and out of focus, a sign of old age, evoking our sympathy.
Yeats uses this second stanza in aid of showing continuation of the year as the ‘nineteenth autumn’ has ‘come upon’ him. Along with ‘nineteenth’ classifying a new millennium, which Yeats will not reach, forceful imagery of time creeping up on him, something he cannot control which is the reality within this line, creates a tone of acceptance, brought Upon by the personal pronoun ‘me’. Self-pity here creates a sense of unfinished business and a pathetic Yeats as there still is denial within made for re had w a path ran o abrupt Yeats’ Mime Nines, Ins state with lack of order, mirroring the mind of the poet.
Enhancing this further, ‘wheeling’ refers to the wheels in the poet’s brain moving frantically round and mound, making thoughts unclear, despite the clear representation of time being unwilling to stop passing by. Yeats uses the rhyming couplet to convey power of the Swans, as they are ‘in great broken rings/ Upon their clamorous wings’, using adjectives ‘great’ and ‘clamorous’ creating an overwhelming, overpowering admiration of their beauty.
They seem so free and driven towards good, however Yeats appears ‘broken’ a striking contrast of the Swans and Yeats as his circular cycle of life is coming back around to end, the use of ‘rings’, perhaps also hinting to the ‘broken’ dream of wearing a ring as he still is unmarried. These enjambment lines end with ‘wings’, ironic as they depict an image of angels flying, and have the ability to escape the pain Yeats feels, forwardly expressed in the next stanza. Stanza two emitting ‘The nineteenth autumn… Makes the reader reflect upon their life, similar to the first stanza, feeling regret or a lack of sanguineness, making us more intrigued into Yeats’ journey. Our admiration of nature and Swans in this stanza, especially the last three lines is uplifting, just as the Swans do into the sky, as they ‘suddenly mount’. Activity of the Swans and inactivity of Yeats makes the reader sympathies with him as we realism his inability to carry out things he could have in his younger days, portraying the theme of ageing.
As well as this, they are made feel regret as they come to the horror in realizing how much of their life has went past, evoking the ever constant theme of change throughout this poem as well as Yeats’ other works. Appearing again in the third stanza is the direct address to himself; Yeats, through the personal pronoun ‘l’ shows his direct involvement in the poem and speaks in past tense, again reinforcing his self reflection. In contrast to the beginning of the poem’s positive and optimistic language, looked’, suggesting it was an honor to look ‘upon those brilliant creatures’.
Use of the superlative ‘brilliant’ enhances the intense longing to see these beautiful creatures and his high regard of them will not disperse. Coupled with ‘creatures’, completely diminishing them, despite Yeats’ in depth enchantment, they create an idyllic symbol of Yeats’ desires in the autumnal stages of his life. Time shifting from past tense to ‘now my heart is sore’ creates a more somber tone as the distinct ‘now highlights.
Yeats’ tone changes after the full stop ‘All’s change since I, hearing at twilight’ as he admits to himself the reality, he can now see as well as hear, ‘hear how desire centre wants reader how it the ‘b similar retell y the nouns theme, quieting into the last line. A delicate, angelic and heavenly feel as they ‘trod with a lighter tread’ coupled with ‘above my head’ creates elevation and worship above him, something he strives towards seeing, and the reader is able to envision this.
The reader in the third stanza is drawn mainly to the change Yeats speaks of, making us feel nostalgic as ‘All’s changed since’ enlightens change as a dominant hem in Yeats’ work, making them think of Easter 1916, Yeats’ other work. His own personal progression and self discovery contained within this stanza allows the reader to sympathies with Yeats, emphasized by the sorrowful ‘my heart is sore. ‘ We admire Yeats for expressing his emotions as well as admire the swans as result of Yeats’ description in awe of them being ‘brilliant creatures’ and having a ‘bell-beat of their wings’.
Contrasting to the idea of continuous movement through life, ‘still,’ brings everything to a halt in the fourth stanza, enhanced greatly by the repetitive SE of the caesuras as lover by lover,’ reinforces senses adding to the harsh reality of Yeats’ situation, reinforced further by inverted syntax. Atmospherically everything is at a standstill, however, verb ‘paddle’ and recurring appearance of the motif ‘stream’ shows a continuation of water reference, thus fluidity of life and vigor.
Streams, coupled with the forthcoming, ‘companionable’ personifies the streams, making the image come to life, re-iterating the symbolism of life in the water. Life in the water is life in another world, that of which Yeats will soon belong to when he passes. Personal pronoun ‘their’ contrasts between he poet and Swans as their ‘hearts have not grown old’ with ‘grown’ suggesting a common fear, thus the theme of ageing.
Planting human qualities upon the Swans ‘Passion or conquest’, with repetition of the ‘w’ sounding ‘wander where they will’ creates a speech-like, dominating quality which drives home their freedom as if it were a demand, reflective of Yeats’ demands to turn back time. The Swans become the symbols of a tyrannical muse like Shelley ‘Ode to the West Wind’ where swans become the ‘invisible influence, like an inconstant wind’, wind interpreting the freedom and lack of restrains the Swans have.
In effect of the fourth stanza, the juxtaposition of the poet and Swans makes the reader sympathies with Yeats as emphasis is on change, making them nostalgic. Descriptions of the Swans make the reader admire their beauty, as well as their ability the re over grown his chi Conch convey ‘have a ekes ay all anus Celtic Twilight style but the register and diction is more grounded, emphasized by ‘Mysterious, beautiful;’ capturing the Swans’ description so poignant and as beautiful, despite resenting.
Language is less hypnotic as that of The Song of Wandering Angus’, however ‘among what rushes will they build’ is wistful, suggesting Yeats wandering off into his own world, heralded by the ‘w’ SOUnd, similar to ‘where the wave of moonlight glosses’. This short two-worded line creates suspense and lyricism, together with the half rhyme with the ‘lake’s edge or pool’, contributing to the harmonious and musical quality of the poem.
As the Swans now ‘drift on the still water’ giving the impression of everything remaining as it is, it juxtaposes to when they ‘have flown away? Illustrating how instantly time can progress and change can occur. Contrast is also seen between light and dark, day and night as Yeats will ‘awake some day’ to a new day of light, however o reveal darkness as the Swans have moved on. Ending with a question is typical of Yeats’ style, used to emphasis the perpetual uncertainty of the future, reinforcing the fact nothing stays the same or lasts forever.
Imagery of the birds, which ‘delight men’s eyes’, is symbolic of the ideal companionship between man and nature but also Yeats’ creative and poetic inspiration, threatened as change constantly occurs. Combining end-stopped and enjambment lines allows the development of images and ideas but also mystery and suspense, reflective of Yeats’ folklore writing and the Celtic Twilight era. At the end of the poem the reader witnesses Yeats’ sense of melancholy and loneliness as he laments the passing of time and deals with thoughts of his own mortality.
Closing with a rhetorical question questions the reader on Yeats’ freedom as opposed to the undoubted amount of freedom the Swans have. It also reminds Yeats himself of the internal debated and discussions of his life and feelings which he challenges throughout the poem. Whilst the poem could be easily taken for a traditionally romantic piece, writing of Ireland’s downfall ‘Romantic Ireland is dead and gone’ its unsurprising focus n the poet and his art that turns into a disquieting self-questioning, soon leads, through a reflection upon death, to mysticism and modern writing.