Yeats was born in Sandymount, not far from Dublin, the capital of Ireland. His father, John Butler Yeats, was a descendant of Jervis Yeats, a flax merchant. The merchant died in 1712, and his grandson Benjamin married Mary Butler, daughter of a prominent County Kildare family. John Yeats was studying law at the time of his marriage, but he soon dropped out and turned to portrait painting. His mother (i.e. William Butler Yeats's grandmother), Susan Mary Porexfenn, came from a family of Anglo-Irish descent in upper County Sligo. The poet moved to the extended family in Sligo shortly after his birth, and he himself has always credited County Sligo with nurturing his true childhood years. The Butler-Yeats family was a very artistic one. The poet's brother, Jack, went on to become a famous painter, and his two sisters, Elizabeth and Susan, both took part in the famous Arts and Crafts Movement.

Yeats' family moved to London for his father's painting career. Initially, Yeats and his siblings were home-schooled. The poet's mother, who missed her hometown of Sligo very much, used to tell her children stories and folklore from her home town.In 1877, William Yeats entered Godolphin Primary School, where he studied for four years. William did not seem to enjoy this experience at Godolphin, however, and did not do well. Due to financial difficulties, the poet's family moved back to Dublin at the end of 1880. Initially living in the city center, they moved to Howth in the suburbs.

The time in Howth was an important stage in the poet's development. Howth was surrounded by hills and woods and was rumored to be haunted by elves. The Yeats family employed a maid, a fisherman's wife, who knew all sorts of countryside legends and told of mysterious adventures, all of which were later published in Celtic Twilight.

In October 1881, the poet continued his studies at Erasmus Smith High School in Dublin. His father's studio was near this school, so the poet spent a lot of time there and became acquainted with many of Dublin City's artists and writers. During this time Yeats read a great deal of Shakespeare and other English writers, and had discussions with literary figures and artists who were much older than he was. He graduated from this high school in December 1883, after which he began to write poetry, and in 1885 Yeats published his first poems in the Dublin University Review, as well as a prose piece entitled The Poems of Sir Samuel Ferguson. From 1884 to 1886 he attended the Metropolitan School of Art on Kildare Street, the predecessor of today's National College of Art and Design in Ireland.

[edit]Young poet

Before he began to write poetry, Yeats had already experimented with combining poetry with religious ideas and emotions. Later, describing his childhood, he once said "...... I think ...... that if it is a powerful and compassionate spirit that constitutes the destiny of the world, then we can be assured by those words which blend the human heart's desire for this world to better understand this destiny."

Yeats's early poems were often drawn from Irish mythology and folklore, and his verbal style was influenced by Pre-Raphaelite prose. During this period, Shelley's poetry had a strong influence on Yeats. In a later essay on Shelley Yeats wrote: "I reread Prometheus Liberated. Of all the great writings of the world, it has a much higher place in my heart than I expected."

Yeats was also influenced early on by John O'Leary, the leader of the Fenian, a prominent Irish organization of his day. The poet said late in life that O'Leary was the most "suave old man" he had ever met, and that "from O'Leary's conversation and from the Irish books he lent me or gave me, I accomplished my life's ambition." It was through O'Leary's introduction that Yeats met Douglas Hyde and John Taylor. The former founded the Gaelic League in 1893, dedicated to preserving and increasing the use of the Irish language.

Yeats' first major poem was 'The Sculptured Island', a fantastic parody of Edmund Spenser's poetry. The poem was published in the Dublin University Review and has not been reprinted since. Yeats's first publicly published work was a pamphlet, Mosada: The Dramatized Poem. It was similarly published in the Dublin University Review and was only printed in 100 copies at his father's expense. Thereafter, he completed the long narrative poem The Wanderings of Oisin and published a collection of poems, The Wanderings of Oisin and Other Poems, in 1889. This first work, which remained undenied even after Yeats's style matured, was based on the legends and myths of ancient Irish warriors. It took the poet two full years to complete the poem, and its style clearly reflects the influence of Ferguson and Pre-Raphaelite poets. The poem is partly responsible for the thematic style of Yeats's later poems: the quest for the life of meditation or the quest for the life of action. The themes of the first eight lyric poems and ballads in this collection are derived from Yeats's boyhood imaginings of the Indians and the Alcadian paradise - gods and goddesses, princes and princesses, temples, peacocks and mystical lotuses, etc. The poems are clearly romanticized. Traces of Romanticism and Pre-Raphaelitism are evident in the poems. After The Wanderings of Ussing, Yeats never composed another long poem. Most of his other early works were lyrical poems on the theme of love or mystical things. As the readership of Yeats's work grew, he became acquainted with many of the leading literary figures of his time in Ireland and England, including George Bernard Shaw and Oscar Wilde.

Yeats' family moved back to London in 1887, and in 1890 Yeats and Ernest Rhys*** founded the Rhymer's Club. This was a literary group of like-minded poets who met regularly and published their own anthologies in 1892 and 1894. Yeats's early works also include the collections Poems, The Mysterious Rose and The Wind Among the Reeds. In fact, the "Society of Poets" did not achieve much in the way of literary success, and Yeats was almost the only poet to achieve anything significant.

[edit]Pleiades Gunnion, the Irish Renaissance, and the Abbey Theater

In 1889, Yeats made the acquaintance of Miss Pleiades Gunnion. She was a woman who was passionate about the Irish nationalist movement. Miss Gunnon was a great admirer of Yeats' earlier poem "The Sculpted Island" and took the initiative to become acquainted with Yeats. Yeats became y enamored with the young lady, and the woman greatly influenced Yeats' later writings and life. After two years of close association, Yeats proposed to Miss Gunnon, but was rebuffed. Later, he proposed to her three more times, in 1889, 1900 and 1901, all of which were rejected. Nonetheless, Yeats remained haunted by Miss Gunnon and modeled his play The Countess Cathleen after her. In the play, Cathleen sells her soul to the devil so that her countrymen can be saved from famine and eventually go to heaven. The play was not performed until 1899, sparking much religious and political controversy. Finally, in 1903, Miss Gunn married John McBride, an Irish Nationalist Movement politician. In that year, Yeats set out on a long lecture tour of the United States. During this period he had a brief affair with Olivia Shakespeare. They met in 1896, only to break up a year later.

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It was also in 1896 that Yeats met Mrs. Augusta Gregory, introduced by their ****ing friend Edward Martin. Mrs. Gregory encouraged Yeats to join the nationalist movement and to write plays. Although Yeats was influenced by French Symbolism, it is clear that he wrote in a clear and distinctly Irish style. This style was reinforced by Yeats' association with the younger generation of Irish writers. Along with Mrs. Gregory, Martin and a number of other Irish writers, Yeats initiated the famous Irish Renaissance (or Celtic Renaissance).

In addition to the literary creation of the writers, the translation and discovery of ancient sagas, Gaelic poetry, and modern Gaelic folk songs by academically trained translators also contributed greatly to the Irish Renaissance movement. The representative figure was Douglas Hyde, later to become President of Ireland, whose compilation of Love Songs of the Province of Connaught was much admired.

One of the movement's most monumental achievements was the founding of the Abbey Theatre, the Irish Literary Theatre, founded in 1889 by W.B. Yeats, Lady Gregory, Martin and George Moore. The group existed for only two years and was not successful. With the help of two Irish brothers, William Fay and Frank Fay, who had a wealth of experience in the theater, and Yeats's unpaid secretary, Anne Elizabeth Frederica Horniman, a wealthy Englishwoman who was involved in the London premiere of George Bernard Shaw's Arms and the Man in 1894, the group succeeded in creating a new Irish national theater scene. With the involvement of the famous playwright John Millington Sheen, the group even made a lot of money from theatrical performances in Dublin, and on December 27, 1904, built the Abbey Theatre. On the opening night of the theater, two of Yeats' plays were ceremoniously screened. From then until his death, Yeats' creative career was always associated with the Abbey Theater. He was not only one of the board members of the theater, but also a prolific playwright.

In 1902, Yeats financed the establishment of the Dan Emmer Press, which published writers associated with the Renaissance movement. This press was renamed Kula Press in 1904. The press existed until 1946 and was run by two of Yeats's sisters, publishing a total of 70 books, 48 of which were written by Yeats himself.In the summer of 1917 Yeats was reunited with Miss Gunn and proposed to her adopted daughter, but was rebuffed. In September, he proposed to an Englishwoman, George Hedges, instead, and she said yes. The two were married on October 20 of that year. Soon after, Yeats purchased the Ballerina Tower in the Coole Park neighborhood, which he soon renamed the "Tulle Ballerina". Yeats spent most of the summers of the rest of his life here, and on February 24, 1919, his eldest daughter, Ann Yeats, was born in Dublin. Ann inherited her mother's intelligence, serenity and friendliness, as well as her father's extraordinary artistic talent, and went on to become a painter.

[edit]Mystical influences

Yeats had a lifelong interest in mysticism and spiritualism, and in 1885 he and some friends founded the Dublin Hermetic Order. The organization held its first meeting on June 16, with Yeats as its leader. In the same year, the Theosophical Hall in Dublin was officially opened by the psychic Brahmin Mohini Shastri, and Yeats attended his first séance the following year. Later, Yeats became obsessed with the occult and psychic arts, and in 1900 he even became the leader of the Golden Dawn Brotherhood of the Occult. He joined this organization in 1890. After their marriage, the Yeatses experimented with the popular unconscious writing.

Yeats's mystical tendencies are particularly evident in his famous poem "Leda and the Swan". Taken from Greek mythology, this short poem tells the story of Zeus' union with the beautiful Leda in the form of a swan and the birth of two daughters (the famous Helen, who started the Trojan War, and Clytemnestra, the wife of Agamemnon, the commander of the Greek army). This motif has recurred in works of Western literature and art. On the original intention of Yeats to create this masterpiece, Western critics have had a variety of different interpretations and interpretations, some believe that "the root of historical change lies in sex and war", while others believe that "history is the result of human creativity and destructive power **** the same action ". Mainstream Western literary history cites Leda and the Swan as a landmark work of Symbolist poetry.

The influence of Catherine Tynan was not insignificant in the formation of Yeats's mystical ideas. Tynan was a talented poetess with whom Yeats was close in his early years. It was under Tynan's influence that Yeats became a frequent participant in various mystical organizations. Tynan admired Yeats' talent throughout her life, but Yeats later grew distant from her.

Yeats' mystical tendencies were significantly influenced by Hindu religion, and he even translated the Hindu Upanishads into English himself in his later years. Psychic doctrines and supernatural meditations, on the other hand, became the inspiration for Yeats' later poetry. Some critics have attacked the mystical tendencies of Yeats's poetry as lacking in rigor and credibility, with W. H. Auden sharply criticizing Yeats in his later years as "an exhibition of a lamentable manhood, whose brain has been infested with nonsense about witchcraft and India". Yet it was during this period that Yeats wrote many of the most monumental works of his life. If one wishes to understand the mysteries of Yeats' later poetry, one must understand the mystical system of thought that led to his book Spiritual Vision, published in 1925. Today, people read this book to understand Yeats' later poetry without treating it as a religious or philosophical work.

[edit]Transformation to modernism

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Yeats met the young American poet Ezra Pound in London in 1913. In fact, Pound had come to London partly to meet this slightly older poet. Pound considered Yeats to be "the only poet worthy of serious study". From 1913 to 1916, Yeats and Pound spent every winter at a country house in Ashdown Forest. During this time Pound acted as Yeats' nominal assistant. However, the relationship between the two poets began to deteriorate when Pound altered some of Yeats's poems without his permission and published them in Poetry magazine. Pound's changes to Yeats's poems mainly reflected his distaste for Victorian rhyme. Soon however both poets began to miss the days when they both **** things up and learned from each other. In particular, Pound's knowledge of Japanese Noh from Ernest Fenollosa's widow provided inspiration for Yeats's forthcoming plays in the aristocratic style. The first play Yeats wrote that parodied Japanese Noh was By the Eagle's Well. He dedicated the first draft of this work in January 1916 to Pound.

Yeats is often regarded as one of the most important 20th-century poets writing in English. However, unlike most modernist poets who made constant attempts in the realm of free-form poetry, Yeats was a master of the traditional poetic form. Modernism's influence on Yeats's poetic style is mainly reflected in the fact that, over time, the poet gradually abandoned the traditional poetic style of writing in his earlier works, and his style of language became more and more cold and direct to the subject matter. This stylistic shift is mainly reflected in his mid-career work, including the collections Seven Woods, Duty, and The Green Helmet

Yeats was awarded the Nobel Prize for Literature in 1923, presented by the King of Sweden himself. He published a short poem, "The Bounty of Sweden," two years later as an expression of gratitude, and in 1925 Yeats published a heartfelt prose work, Spiritual Vision, in which he pushed the views of Plato, Breton, and several modern philosophers to substantiate his theories of astrology, mysticism, and history.

[edit]Political career

Yeats met many of the younger modernists through Pound, which led to his mid-career poems moving away from the style he had used at the time of his earlier Celtic Dawn. His political concerns were also no longer confined to the cultural-political realm in which he had been enamored in the early Renaissance movement. The aristocratic stance of his soul is evident in Yeats' early works. He idealized the life of the Irish commoners and deliberately ignored the reality of their poverty and weakness. However, a revolutionary movement started by the lower class Catholics in the city forced Yeats to change his creative stance.

Yeats's new political orientation is reflected in the poem "September 1913". The poem attacks the famous Dublin General Strike of 1913, led by James Larkin. In 'Easter 1916', the poet repeatedly recites: 'Everything has changed / Changed utterly / A horrible beauty yet has been born'. Yeats finally realizes that the value of the leaders of the Easter Rising lies in their humble origins and poverty.

Throughout the 1920s and early 1930s, Yeats was inescapably affected by the turbulence in his country and in the world at large.In 1922, Yeats entered the Irish Senate. One of Yeats's most significant achievements during his Senate career was that he served as Chairman of the Currency Committee. It was this body that designed the first currencies after Irish independence. In 1925, he was a passionate advocate for the legalization of divorce, and in 1927, in his poem "Among Schoolchildren," Yeats described himself as a public figure: "a smiling celebrity in his old age. "In 1928, Yeats retired from the Senate due to health problems.

Yeats's aristocratic stance and his close relationship with Pound brought the poet close to Mussolini. He expressed his admiration for the fascist dictator on many occasions. He even wrote hymns in praise of fascism, although they were never published. Yet when Pablo Neruda invited him to Madrid in 1937, Yeats responded with a letter in which he made it clear that he was in favor of the Spanish Revolution and against fascism. Yeats' political leanings were very ambiguous. He did not support the democrats, yet in later years he also deliberately distanced himself from the Nazis and fascism. Throughout his life, however, Yeats never really accepted or approved of democratic politics. At the same time, he was y influenced by the so-called "eugenics movement".

[edit]Later life and writing

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In his later years, Yeats gradually moved away from the direct political themes of his middle years and began to write in a more personal style. He began to write poems about his family and children, sometimes depicting his own experiences and thoughts about the passage of time and his gradual aging. His last collection of poems, The Great Escape of the Circus Animals, vividly expresses the inspiration for his later work: "Now that my ladder is gone / I must lie flat at the beginning of those steps to climb". After 1929, Yeats moved away from Turbarelli Tower. Although many of the poet's memories of his life were outside of Irish soil, he rented a house on the outskirts of Dublin in 1932. In his later years Yeats was very prolific, publishing many books of poetry, plays and essays, and many of his famous poems were written in his later years, including the culmination of his life, Sailing to Byzantium. This iconic poem embodies Yeats's yearning for the ancient and mysterious civilizations of the Orient.In 1938, Yeats made his last visit to the Abbey Theatre to see the premiere of his play Purgatory. In the same year, he published The Autobiography of William Butler Yeats.

In his later years, Yeats became very ill and traveled to France to recuperate, accompanied by his wife. He died on January 28, 1939, at the "Hotel de la Mer" in Menton, France. His last poem was "The Black Tower", based on the legend of King Arthur. After his death, Yeats was initially buried in Roquebrune, but in September 1948 his body was moved to his native county of Sligo in accordance with the poet's wishes. His grave has since become a notable attraction in County Sligo. His epitaph is the last line of the poet's later work, "Beneath the Foothills of Ben Pound," "Cast a cold eye / On life, on death / Knight, steer your horse forward!" Yeats said during his lifetime that Sligo was the place that had the most profound influence on him in his life, which is why he chose the address for his sculpture and memorial.

[edit]Yeats's major works

1886 - Mosada

1888 - A Collection of Myths and Folk-Tales from the Irish Countryside

1889 - The Wanderings of Ussing and Other Poems

1891 - Classic Irish Tales

1892 - The Countess of Cathleen and Other Legends and Lyric Poems

1893 - Celtic Dawn

1894 - The Fields of Desire of the Heart"

1895 - Collected Poems

1897 - The Mystic Rose

1899 - The Wind Among the Reeds

1903 - The Idea of Good and Evil

1903 - In the Sevenfold Wood

1907 - The Discovery

1910 - The Green Helmet and Other Poems

1913 - The Poetry of Frustration

1914 - Duty

1916 - Fantasia on the Years of Youth

1917 - The Wild Swans of Cooley

1918 - In the Tranquility of the Moon

1921 - Michael Robards and the Dancers

1921 - Four Years

1924 - The Cat and the Moonlight

1925 - Spirit Sight

1926 - Alienation

1926 - Autobiography

1927 - The Outbreak of October

1928 - The Tower

1933 - Back to the Ladder and Other Poems

1934 - An Anthology of Plays

1935 - The Full Moon of March

1938 - New Poems

1939 - The Last Poems and Two Plays (published posthumously)

1939 - In the Gas Pot (published posthumously)

William Butler Yeats (1865-1939) Famous Irish poet and winner of the 1923 Nobel Prize for Literature.

I. Life of W.B. Yeats

Born in Dublin, Ireland, on June 13, 1865, he wrote his earliest poems in 1882, and in 1888, met William Morris, George Bernard Shaw, Oscar Wilde and others, and wrote his book Myths and Folklore, and in 1889, he published his first collection of poems, Wandering Ossian and Other Poems, and in the same year, met Mott Gang 1894, meets Olivia Shakespeare, 1895, Selected Poems, 1896, meets Mrs. Gregory, 1897, The Secret Rose, 1903, poems, In the Seven Forests, essays, Thoughts on Good and Evil, 1905, Water Full of Shadows, 1908, Selected Poems in eight volumes, 1909, meets Ezra Ponzi, 1909, meets Ezra Ponzi, 1909, meets Ezra Ponzi, 1909, meets Ezra Ponzi, 1909, meets Ezra Ponzi, 1909, meets Ezra Ponzi, 1909, meets Ezra Ponzi. In 1909, he met Ezra Pound; in 1913, Pound became Yeats's secretary; in 1914, his collection of poems, Duty, appeared; in 1917, he proposed to Isabel, daughter of Mott Gunn, but was rejected, and married George Hyde Lees; in the same year, The Wild Swans of Cole Hall appeared; in 1923, he was awarded the Nobel Prize for Literature; in 1925, Phantasmagoria was published; in 1928, The Tower was published; in 1933, The Spinning Ladder appeared; in 1935, The Water of Good and Evil appeared; in 1905, The Water of Shadows appeared. In 1933, The Spinning Ladder was published, in 1939, Yeats died and was buried in France, and in September 1948, his body was returned to Ireland and buried at the bottom of Benbulben Hill.

II.Nobel Prize Awarding Words

"The spirit of the nation, guided by inspiration, has been expressed in poetry in a highly artistic form."

Three, Early Poetry

Yeats did not mention his early poetry in his autobiography, in the anthology of Yeats edited by Wang Jiaxin defined Yeats's early poetry before 1889, and T.S. Eliot defined Yeats's early poetry all at once up to 1919, when the poet was already in his sixties, and the eight-volume anthology of his poems had long been published, and in six years' time. The poet was on his way to Stockholm to receive the Nobel Prize, and only a master like T. S. Eliot would dare to speak in such tones as these: 'The poems of the young Yeats were almost non-existent to me before the poems of the old Yeats won my enthusiasm; and then? --I mean since 1919? -- my own evolutionary process was complete." I dare not and will not be so slow to take Yeats at his word, and I prefer to agree with Wang Jiaxin's delineation in his selection of Yeats's Collected Writings, taking 1889 as the cut-off year, after which his Memory, By the Fireside, She Dwells in a Maple Grove, and Love Songs are certainly not mature works, but there is a "Death will never come/Come to this distant, perfumed woods," in "By the Fireside" there's "Mourning under the mourning stars, mourning under the stars," and in "Memory" there's "At this moment, my soul rises and touches it gently / Far away, with a sigh, a sigh for each other. Such are the lines of the poem. Yeats makes no mention of his early poems either in his Dreams of Adolescence or in his Four Years or in his Autobiography; in fact, in 1889, Yeats was already twenty-three years old, while Rimbaud had already written The Drunken Boat at seventeen, Mallarmé began to write Hieroglyphics in his early twenties, and Baudelaire wrote many of the chapters of The Flowers of Evil, so Yeats should be considered a poet who was early but not precocious, and perhaps this is not a bad thing, because it turns out that in the history of poetry, it is almost difficult to see a poet who kept his poetic life as long as Yeats did, until the end of his life, and wrote for a whole century and a half.

Four: The Secret Rose

I am a little puzzled as to why T. S. Eliot mentions only "Who Walks with Fergus" but not "The Secret Rose" when he refers to Yeats's early poems, and I have the feeling that "The Secret Rose" should be a poem which has already embodied the spirit of Yeats in a very complete way, with its belief in the beauty of beauty, the language of divine revelation, the symbolism of the rose, and the way the rose is used in the lines. The faith in beauty, the language with its divine indications, the symbolism of the rose, and the sublime weather that flows out in the lines, rhythms, and thoughts are, it should be said, far beyond the comparison with Yeats's previous poems, and, in Yeats's poems since then, this sublime weather has become a kind of life-like thing that has been growing all the time, like the rhythm of the pulse, like the circulation of the blood.

Fifth, the spirit of poetry

In Yeats, the most worthy of our respect should be the spirit of poetry, Yeats is a person who will be immersed in his whole life in poetry, the kernel of the spirit of his poetry is y embodied in the life of the constant and cold passion, there is no song in Yeats's poems, there is no howl, there is only the phantasmagoria of the beauty, calmness and intellect, and he has always elevated the survival to a very high level, the spirit of the spirit. Survival rises to a very high level, reflecting, loving, exploring, meditating, and his powerful spiritual intensity draws the poem closer. At an early stage, he tried to make his consciousness of things realize the leap from objectivity to symbolism and then to fantasy, so that simple consciousness arrives at the state of hypnosis directly: "I have since found that this state is sufficient to produce in them visions which are in accordance with my will? --If I evoke such symbols in my own mind's eye. My mind directly affects theirs. I notice that the different systems of inspiration, instruction, or supplication are more powerful, because they demand a longer attention than those of isolated symbols, and I notice that I can occasionally find something I have never heard before in the midst of the symbols that appear at my command, even though this something has historical roots and cannot be without cause. I allowed my mind to drift from image to image, and these images began to influence my writing, making it more sensory and alive. I believe that with these images the deeper and longer realm of the soul will eventually come, and that lives in fruitless hope." Why did the poet Yeats' passion remain so constant, perhaps precisely because it came not from the level of consciousness, nor from the level of emotion, but from the deepest depths of life? --from the heart.

Yeats lived almost to the end of his life still writing poems, I don't know if the poem "Politics" was his last poem, he died on January 28, 1939, but between 1938 and his death, he actually wrote "John Kensala in Memoriam to Mrs. Mary Moore", "The Long-Footed Mosquito", "Under the Hill at Bemblebourne", "Where My Books Go", "The Backsliding of the Circus Animals Spanish politics

How can I, concentrating my mind

......

But I would I were young again

To hold her in my arms"

(Politics)

I would like to believe that this is Yeats's s swansong, for in such a swansong the true Yeats spirit has been very aptly conveyed? -- the immortal perfectionism, the immortal never-disillusioned soul.

Sixth, one man's revolution

Yeats poetry has a very good language, what is the quality of this language? It's hard to describe. Beauty? Purity? Symbolism? Simplicity? All of them, but none of them can be summarized.

Born in the age of Romantic poetry, Yeats has been called by some "the last of the Romantic poets", by others "the master of symbolism", by others "the greatest English poet of the 20th century", by T.S. Eliot "the undisputed master". Some have called him "the last of the Romantic poets", others "the great master of symbolism", others "the greatest English poet of the 20th century", and T. S. Eliot "the undisputed master".

But Yeats was essentially a modernist poet who, in his own great self-awareness, made the transition from Romanticism to modernism almost inimitably. Before him, whether it was Byron or Shelley, whether it was Keats or Wilde, during this period, although the traditional poetry of Romanticism had produced a growing tendency towards aestheticism, and Symbolist poetry was in the process of sprouting and being born, the real and complete revolution was born almost exclusively in Yeats's poetry. It can be said that Yeats's revolution is a deep inner revolution, in Yeats's poems, language has really transcended the level of tools and carriers, and reached a complete, free and vivid state of life:

Distant, secret, inviolable roses

You embrace me in my critical moment; there

These are in the Holy Sepulchre or in the wine cart

These are in the Holy Sepulchre or in the wine cart

These are in the Holy Sepulchre or in the wine cart

These are in the Holy Sepulchre or in the wine cart. Wine carts

seeking you live beyond the tumult

and confusion of thwarted dreams: deep

in pale eyelids, sleep languid and heavy

which one calls beauty. ......

...... I, too, wait for the

hurricane-like moment of love and hate.

When will the stars be blown in all directions in the sky,

like sparks rising from a blacksmith's store and then dimming

Apparently your moment has come, your biker winds furiously scouring

the distant, the most secret, the inviolable roses?

(The Secret Rose).

This beauty, purity, and innovation is unprecedented. Revolution is painful and difficult, the revolution of a rebel may be possible by virtue of fervor and sacrifice, but it is the revolution within, the revolution of innovation, the silent revolution without a cry, that is the greatest challenge of all, and it is in meditation, in the most persistent and deep exploration of the unknown, that Yeats penetrates with his own light into a much wider world, listen to Yeats talk about literature in this way:" Literature must be responsible for the power it has, and keep all its freedom; it must float at will like the genie and the wind; it must have the right to penetrate every crevice of human nature, the right to depict the relations between the mind and the various things in life and law, and to depict them as they are, not by our subjective fancy, of course; and if it cannot do this, it cannot give us the basis of understanding and benevolence, without which our moral sense is reduced to cruelty. Literature must not lie, as creation does, and sometimes, when speaking of all the virtues, it must say, 'The greatest of all virtues is mercy.'" Listen to Yeats talking about poets in this way, "According to the nature of things, the poet must be one who leads an absolutely honest life; the better he writes his poems, the better his life