Q. Write an analysis of the poem Easter 1916 by W. B. Yeats.
W.B. Yeats’s poem “Easter, 1916” was published in 1921 and appeared in the collection Michael Robartes and the Dancer. This collection contains several of Yeats’s poems that reflect on Irish nationalism.
“Easter 1916” is a poem by the Irish poet W.B. Yeats, written in response to the Easter Rising in Ireland in April 1916. During this uprising, Irish nationalists staged a rebellion against British rule in an attempt to establish an independent Irish Republic.
British forces swiftly crushed the insurrection, but it marked a significant moment in Irish history and eventually led to the Irish War of Independence.
In “Easter 1916,” Yeats reflects on the impact of the Easter Rising and the people who participated in it. The poem is notable for its ambivalent tone and complex perspective on the event and the participants. Here are some critical aspects of the poem:
Structure and Form
The poem comprises four stanzas of varying lengths and employs a regular rhyme scheme. This structure brings a sense of order and contemplation, contrasting with the chaotic and violent nature of the rebellion.
Easter 1916 Analysis
Stanza 1
I have met them at close of day
Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses.
I have passed with a nod of the head
Or polite meaningless words,
Or have lingered awhile and said
Polite meaningless words,
And thought before I had done
Of a mocking tale or a gibe
To please a companion
Around the fire at the club,
Being certain that they and I
But lived where motley is worn:
All changed, changed utterly:
A terrible beauty is born.
I have met them at the close of the day
This opening line introduces a routine setting when Yeats encounters the individuals who will be involved in the Easter Rising.
“Close of the day” symbolically refers to the end of an era or the closing of a period in Irish history.
Coming with vivid faces
It suggests that these individuals, who would later be involved in the uprising, are full of life, energy, and passion.
This contrasts with the mundane activities they are leaving (work at a counter or desk). It hints at their inner lives or convictions, which are not immediately apparent in their day-to-day roles.
From counter or desk among grey
Eighteenth-century houses.
It shows the individuals within a specific urban, historical, and architectural context.
Eighteenth-century houses
It symbolizes the old, established order, possibly representing the long-standing British rule over Ireland.
The description of the setting as “grey” contrasts with the “vivid faces.” It emphasizes the difference between Dublin City’s monotonous, unchanging backdrop and the dynamic, passionate individuals.
In these lines, Yeats shows the rebels’ ordinary lives before they became known for their role in the Easter Rising.
I have passed with a nod of the head
Or polite meaningless words,
Yeats describes his routine, casual encounters with these individuals. The “nod of the head” and “polite meaningless words” convey a sense of everyday, superficial social interaction.
This suggests that Yeats, like many others, did not recognize the depth or significance of these people before the Rising.
Or have lingered awhile and said
Polite meaningless words,
The repetition of “polite meaningless words” emphasizes the trivial nature of these past interactions.
Lingered awhile
This could reflect a common human tendency to overlook the profound or extraordinary aspects of others, especially in routine social contexts.
Before the Easter Rising, the rebels were seen as ordinary people with whom Yeats had only superficial contact. Their involvement in the Rising radically changes how Yeats and history view them.
This shift from the mundane to the extraordinary is critical to the poem’s exploration of how significant historical events can redefine individuals and their actions.
And thought before I had done
Of a mocking tale or a gibe
Yeats admits that, during these casual interactions, he often thought of making a joke or a mocking comment about these individuals.
This suggests that he, and possibly others in his social circle, did not take these people seriously before the Rising.
Gibe
Gibe is a mocking or sarcastic remark intended to ridicule, taunt, or insult someone.
To please a companion
Around the fire at the club,
The reference to pleasing a companion indicates that such mockery was not just a personal impulse but part of social bonding or entertainment among Yeats’s peers.
They were part of the background of Yeats’s life, not central figures, and were subjects of light-hearted, dismissive conversation rather than serious consideration.
This perspective dramatically changes after the Rising, as these once-mocked individuals take on a grave and significant role in Irish history.
Being certain that they and I
But lived where motley is worn
Yeats uses the metaphor of “motley,” the traditional multi-coloured costume of a court jester. Before the Easter Rising, he thought he and the rebels were just part of a minor shallow world.
Motley
It implies a life not taken seriously, a world of social playing and frivolity.
All changed, changed utterly
This line marks a dramatic shift. The repetition of “changed” emphasizes the profound transformation caused by the Easter Rising.
A terrible beauty is born.
The oxymoron “terrible beauty” reflects the event’s dual nature. It was terrible in terms of violence, death, and suffering, but there was also a kind of beauty in the courage, commitment, and idealism of the rebels.
This transition from the ordinary to the extraordinary, from triviality to historical significance, is a crucial theme in “Easter 1916.”
Stanza 2
That woman’s days were spent
In ignorant good-will,
Her nights in argument
Until her voice grew shrill.
What voice more sweet than hers
When young and beautiful,
She rode to harriers?
This man had kept a school
And rode our wingèd horse;
This other his helper and friend
Was coming into his force;
He might have won fame in the end,
So sensitive his nature seemed,
So daring and sweet, he thought.
This other man I had dreamed
A drunken, vainglorious lout.
He had done the most bitter wrong
To some who are near my heart,
Yet I number him in the song;
He, too, has resigned his part
In the casual comedy;
He, too, has been changed in his turn,
Transformed utterly:
A terrible beauty is born.
That woman’s days were spent
In ignorant good-will,
These lines suggest that the woman was engaged in activities characterized by naive benevolence during the day.
“Ignorant good-will” implies a well-meaning but perhaps uninformed or simplistic approach to her daily affairs, possibly unaware of the complexities of the political situation around her.
Her nights in argument
Until her voice grew shrill.
In contrast to her daytime activities, she is deeply involved in heated political discussions or arguments at night. The transformation from “ignorant good-will” to intense debate indicates a dual aspect of her life.
Until her voice grew shrill
It implies that her political discussions were passionate and possibly exhausting, reflecting a high level of emotional and intellectual investment in the nationalist cause.
These lines portray a woman who, like many others involved in the Easter Rising, led a life of contrasts: outwardly ordinary but privately committed to a political cause.
What voice more sweet than hers
When, young and beautiful,
Yeats reminisces about a time when the woman was younger and is remembered for her beauty.
“What voice more sweet than hers” suggests a time when her voice was associated with pleasantness or charm, in contrast to the “shrill” voice of her political arguments mentioned earlier.
She rode to harriers?
Riding to harriers refers to participating in a harrier hunt, a traditional form of hunting with hounds. It indicates her involvement in upper-class or traditional activities.
This contrasts with her later life, where she actively engages in political struggle and debate.
The woman, once known for her sweet voice and beauty in leisurely activities, has now become a fervent participant in the nationalist movement, using her voice as a tool for political expression.
This man had kept a school
This line likely refers to Patrick Pearse, a key figure in the Easter Rising. He was an educator who founded St. Enda’s School in Dublin.
The phrase “had kept a school” highlights Pearse’s educator role and influence on the younger generation.
And rode our wingèd horse;
Wingèd horse
It is a metaphor for poetic inspiration derived from classical mythology where Pegasus, a winged horse, is often associated with the Muses. This line suggests that the man was an educator and engaged in poetic or intellectual pursuits.
This other his helper and friend
Was coming into his force;
These lines likely refer to Thomas MacDonagh, a close associate of Pearse, a teacher at St. Enda’s School and a key figure in the Rising.
“Coming into his force” implies that MacDonagh was beginning to realize his potential or become a leader and thinker.
He might have won fame in the end,
So sensitive his nature seemed,
So daring and sweet his thought.
Yeats reflects on the unrealized potential of these men, particularly MacDonagh. He acknowledges their sensitivity, courage, and the attractiveness of their ideas (“sweet his thought”).
This suggests a sense of loss for what they could have achieved had their lives not been cut short by the rise and its aftermath.
In these lines, Yeats portrays the intellectual and poetic qualities of the leaders of the Easter Rising.
He expresses a sense of regret or loss over the paths they might have taken and the accomplishments they might have achieved in more peaceful times.
This other man I had dreamed
A drunken, vainglorious lout.
Yeats expresses his earlier, negative perception of this man, whom he viewed as a “drunken, vainglorious lout.” This description suggests that Yeats saw him as boastful, lacking seriousness, and possibly indulgent in alcohol.
Dreamed
It implies that Yeats’s view was based on his impressions or perceptions rather than direct knowledge.
He had done most bitter wrong
To some who are near my heart,
Yeats indicates that this individual had wronged people close to him. This line reveals a personal connection and a reason for Yeats’s negative opinion of this man.
Yet I number him in the song;
Despite his previous contempt for this man, Yeats includes him in the poem. This inclusion reflects Yeats’ recognition that everyone involved in the Easter Rising, regardless of their personal qualities or past actions, played a part in this pivotal event in Irish history.
He, too, has resigned his part
In the casual comedy;
This line suggests that, like the others, this man has abandoned his role in ordinary, everyday life (“the casual comedy”) to participate in the severe and tragic events of the Rising.
The phrase “casual comedy” contrasts with the Rising’s grave, dramatic nature and highlights the transformation its participants underwent.
Yeats acknowledges that their participation in this momentous event fundamentally changed even those he disliked or disapproved of.
He, too, has been changed in his turn,
Transformed utterly:
This line acknowledges that the individual Yeats had previously described negatively was also transformed by his involvement in the Easter Rising.
In his turn
It implies that this transformation was part of a more significant shift affecting many people involved in the event.
The word “utterly” emphasizes this transformation’s complete and profound nature. It suggests that the change was not just superficial or temporary but a deep and lasting alteration in the very essence of the individual.
A terrible beauty is born.
This line, repeated earlier in the poem, serves as a refrain that captures the poem’s ambivalent response to the Rising. It reflects the paradoxical way the Rising was both tragic and transformative in Irish history.
Stanza 3
Hearts with one purpose alone
Through summer and winter seem
Enchanted to a stone
To trouble the living stream.
The horse that comes from the road,
The rider, the birds that range
From cloud to tumbling cloud,
Minute by minute they change;
A shadow of cloud on the stream
Changes minute by minute;
A horse hoof slides on the brim,
And a horse plashes within it;
The long-legged moor-hens dive,
And hens to moor-cocks call;
Minute by minute, they live:
The stone’s in the midst of all.
Hearts with one purpose alone
This line indicates a singular, focused dedication of the individuals involved in the Rising. Their “hearts” are entirely committed to one cause, suggesting a deep emotional and ideological investment.
Through summer and winter seem
The reference to “summer and winter” symbolizes the passage of time and the enduring nature of their commitment, unaffected by the changing seasons. This implies that their dedication is constant, not just a momentary passion.
Enchanted to a stone
To trouble the living stream.
The word “enchanted” suggests a magical or supernatural level of commitment, as if their hearts have been transformed into something unyielding and permanent.
It suggests that their actions significantly impact the ordinary course of events. It symbolizes how the Easter Rising interrupted the status quo and altered the course of Irish history.
These lines show a group of individuals with an extraordinary, unwavering commitment to their cause whose actions had a profound and lasting impact on their country and its future.
The horse that comes from the road,
This image introduces a sense of movement and transition. A horse coming from the road suggests action and travel, possibly symbolizing the journey or the approach to change.
The rider, the birds that range
From cloud to tumbling cloud,
The rider on the horse and the birds moving freely in the sky represent fluidity and freedom.
Tumbling Cloud
The birds, ranging “from cloud to tumbling cloud,” convey a sense of constant motion and change in the natural world.
This imagery of the birds in flight, moving effortlessly and unpredictably, contrasts the solid, unmoving stone mentioned earlier.
Minute by minute, they change;
This phrase underscores the continuous and relentless nature of change. The repetition of “minute by minute” highlights that change is not just a sporadic or occasional occurrence but a constant and ongoing process.
A shadow of cloud on the stream
Changes minute by minute;
Yeats provides a specific image to illustrate this concept of perpetual change. The shadow of a cloud moving across the surface of a stream is an ephemeral and ever-shifting phenomenon.
As clouds move across the sky, their shadows dance and transform on the water below, never remaining the same from one moment to the next.
These lines continue the contrast theme established in earlier parts of the poem. While the nationalists’ hearts are compared to a stone, unchanging and steadfast, set against the “living stream” of ongoing life, Yeats describes the natural world as being in constant flux.
A horse-hoof slides on the brim
This image depicts a momentary and delicate interaction between the horse and the water.
Slides
It suggests a gentle, perhaps even tentative, movement at the edge (“brim”) of the stream.
And a horse plashes within it
The word “plashes” (a term that means to splash gently) depicts the horse stepping into the water, causing ripples or splashes. This action symbolizes a more direct and impactful interaction with the stream than the sliding hoof on the brim.
Just as the horse disrupts the stillness of the water, so too do the actions of individuals (like those involved in the Easter Rising) disrupt and change the flow of history.
The long-legged moor-hens dive,
This image of moor-hens, a type of bird commonly found in wetlands, diving into the water adds to the sense of constant activity and change in the natural world.
The action of diving suggests a sudden, dynamic movement, emphasizing the idea of nature being in a perpetual state of flux.
And hens to moor-cocks call,
This line describes the interaction between female and male moorhens (moorcocks). The birds’ calling signifies communication, interaction, and possibly the continuity of life through mating and reproduction.
The ordinary and continual actions of the moor-hens are a backdrop to the monumental and transformative actions of the individuals involved in the Rising.
Minute by minute they live:
This line emphasizes the continuous, moment-to-moment existence of the natural world. The phrase “minute by minute” conveys the idea of life as a series of ongoing, immediate experiences constantly changing and evolving.
The stone’s in the midst of all.
Here, Yeats returns to the metaphor of the stone, which he introduced earlier in the poem. The stone represents the unwavering resolve and enduring commitment of the nationalists.
Placed “in the midst of all,” the stone is surrounded by the ever-changing life depicted in the previous lines, yet it remains constant and unaltered.
Stanza 4
Too long a sacrifice
Can it make a stone of the heart.
O when may it suffice?
That is Heaven’s part, our part
To murmur name upon name,
As a mother names her child
When sleep at last has come
On limbs that had run wild.
What is it but nightfall?
No, no, not night but death;
Was it needless death after all?
For England may keep faith
For all that is done and said.
We know their dream; enough
To know they dreamed and are dead;
And what if excess of love
Bewildered them till they died?
I write it out in a verse—
MacDonagh and MacBride
And Connolly and Pearse
Now and in time to be,
Wherever green is worn,
Are changed, changed utterly:
A terrible beauty is born.
Too long a sacrifice
This phrase suggests a protracted period of enduring hardship, suffering, or giving up something of great value. It refers to the long struggle for independence and sacrifices made by Irish nationalists.
Can make a stone of the heart.
This metaphor implies that extended periods of sacrifice can harden one’s emotions or spirit.
A heart turning to “stone” symbolizes becoming desensitized, losing compassion or empathy, or becoming emotionally numbed due to the constant exposure to struggle and suffering.
O when may it suffice?
This question reflects Yeats’s uncertainty about the point at which the sacrifices made for a cause, such as the struggle for Irish independence, might be considered enough.
It expresses a longing to end the continual cycle of struggle and loss.
That is Heaven’s part,
It implies that some matters, particularly those related to the ultimate meaning or value of human actions and sacrifices, are determined by a higher power or the metaphysical order of the universe.
our part
To murmur name upon name,
To “murmur name upon name” is to softly speak or recite the names of those who have sacrificed themselves.
This act of naming is a form of commemoration and recognition. It ensures that the individuals who participated in the Easter Rising are not forgotten. It is a way of acknowledging their contributions and keeping their memory alive.
While humans cannot always determine the ultimate value or outcome of their struggles, they can remember and honour those who have participated in them.
As a mother names her child
When sleep at last has come
On limbs that had run wild.
In “Easter, 1916” by W.B. Yeats, these lines draw a comparison between a peaceful moment and the remembrance of those who participated in the Easter Rising.
These lines describe the act of naming, similar to how a mother names her child in a quiet moment after the child has calmed down from active play.
On limbs that had run wild
This line suggests the rebels’ intense physical and perhaps emotional activity during the uprising. It indicates a transition from a state of energetic movement and unrest to one of stillness, implying the conclusion of their actions.
What is it but nightfall?
No, no, not night but death;
Was it needless death after all?
For England may keep faith
For all that is done and said.
In these lines from “Easter, 1916” by W.B. Yeats, the poet questions the nature of the change that has occurred as a result of the Easter Rising.
Initially, Yeats suggests that the situation might simply be the end of a day (“nightfall”), but he quickly corrects himself to indicate that it is something more final and significant: death.
He then asks whether this death was unnecessary (“Was it needless death after all?”) and reflects on the possibility that England might remain true to its promises despite everything that has happened.
This raises questions about the value and consequences of the actions taken during the Easter Rising, suggesting uncertainty about whether the outcomes justify the sacrifices.
We know their dream; enough
To know they dreamed and are dead;
And what if excess of love
Bewildered them till they died?
In these lines, the poet acknowledges that the individuals who participated in the Easter Rising had a vision or goal that motivated their actions. Yeats notes that it is sufficient to understand that these individuals had aspirations and have since passed away.
He then poses a question regarding whether their profound love for their country or cause might have overwhelmed their judgment, leading them to make decisions that resulted in their deaths.
It introduces the idea that extreme emotions, even love, can have powerful and possibly tragic consequences.
write it out in a verse—
MacDonagh and MacBride
And Connolly and Pearse
Now and in time to be,
Wherever green is worn,
Are changed, changed utterly:
A terrible beauty is born.
In this passage from “Easter, 1916” by W.B. Yeats, the poet states that he is recording the names of four leaders of the Easter Rising—MacDonagh, MacBride, Connolly, and Pearse—in his poem.
He notes that these individuals and what they represent will forever be transformed in the eyes of those who cherish Ireland, symbolized by the wearing of green.
Wherever green is worn,
It refers to the symbolic wearing of green as an expression of Irish identity and solidarity. Green is often associated with Ireland, reflecting its lush landscapes and also serving as a symbol of the Irish nationalist movement.
In this context, Yeats suggests that the impact of the Easter Rising and its leaders will resonate not just in Ireland but anywhere in the world where people identify with or support the cause of Irish independence and nationalism.
A terrible beauty is born.
It concludes with the Easter Rising and its aftermath. This statement captures the dual nature of the event: it was both horrific due to the violence and loss of life and beautiful in its demonstration of courage and commitment to Irish independence.
The word “terrible” acknowledges the tragedy and suffering involved, while “beauty” refers to the noble ideals and the lasting impact of the Rising on Irish national consciousness.
Yeats uses this phrase to express the emotions and significant changes from Easter Rising. It highlights how it irreversibly transformed the participants, Irish society, and Irish history.
