The Second Coming | |
---|---|
by W. B. Yeats | |
Written | 1919 |
First published in | The Dial |
Country | Ireland |
Language | English |
Form | Lyric poetry |
Publication date | 1920 |
Media type | |
Lines | 22 |
Full text | |
The Second Coming (Yeats) at Wikisource |
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?Contents
“The Second Coming” is a poem written by Irish poet William Butler Yeats in 1919, first printed in The Dial in November 1920 and included in his 1921 collection of verses Michael Robartes and the Dancer . [1] The poem uses Christian imagery regarding the Apocalypse and Second Coming to describe allegorically the atmosphere of post-war Europe. [2] It is considered a canonical work of modernist poetry and has been reprinted in several collections, including The Norton Anthology of Modern Poetry. [3]
The poem was written in 1919 in the aftermath of the First World War [4] and the beginning of the Irish War of Independence in January 1919, which followed the Easter Rising in April 1916, and before the British government had decided to send in the Black and Tans to Ireland. Yeats used the phrase "the second birth" instead of "the Second Coming" in his first drafts. [5]
Yeats′s cosmology is laid out in his book A Vision , where he explained his views on history and how it informed his poetry. Yeats saw human history as a series of epochs, what he called "gyres." He saw the age of classical antiquity as beginning with the Trojan War and then that thousand year cycle was overtaken by the Christian era, which is coming to a close. And that is the basis of the final line of the poem: "And what rough beast, its hour come round at last / Slouches towards Bethlehem to be born?"
The poem is also connected to the 1918–1919 flu pandemic. In the weeks preceding Yeats′s writing of the poem, his pregnant wife, Georgie Hyde-Lees, caught the virus and was very close to death, but she survived. The highest death rates of the pandemic were among pregnant women, who in some areas had a death rate of up to 70%. Yeats wrote the poem while his wife was convalescing. [6] [1]
In 2009, David A. Ross identified "The Second Coming" as "one of the most famous poems in the English language," [7] echoing Harold Bloom who, in 1986, cited the piece as "one of the most universally admired poems of our century." [8]
Critics agree that the poetry of Percy Shelley had a strong influence on the drafting of "The Second Coming." The first stanza matches the tone, diction, and syntax of Prometheus Unbound . [9] [10] [11] Both Harold Bloom and Jon Stallworthy speculate that the poem's sphinx draws off the imagery of Shelley's Ozymandias. [8] [9]
Critics have also argued that "The Second Coming" describes what Yeats elsewhere called an "antithetical dispensation" to the age ushered in by the birth of Jesus Christ. [12] Richard Ellmann understood the "rough beast" of the final lines as a creature to be born itself in Bethlehem, marking the cyclical (and violent) overturning of an age. [13] Giorgio Melchiori identified this same idea in Yeats' other writings, noting that
"(1) by 1896 Yeats had already some inkling of the cyclical theory of history which he was later to develop and expound in A Vision ; (2) The Trojan war, the birth of Christ, and an indefinite event due to happen in our century were already considered by him as three fundamental crises in world history, each of which reverse the established order and ushered in a new cycle of civilization . . ." [14]
Phrases in the poem have been adopted as the title in a variety of media. The words "things fall apart" in the third line are alluded to by Chinua Achebe in his novel Things Fall Apart (1958), [1] The Roots in their album Things Fall Apart (1999), [15] and Jon Ronson in his podcast series Things Fell Apart (2021). [16]
Similarly, the words "the centre cannot hold" in the same line are used in the title of Elyn Saks' book about her experience with schizophrenia while obtaining her PhD at Oxford, and later her JD at Yale, The Center Cannot Hold: My Journey Through Madness (2008), [17] Jonathan Alter's book on U.S. President Barack Obama's first term, The Center Holds (2013), [18] the Netflix biographical documentary Joan Didion: The Center Will Not Hold (2017), Sleater-Kinney's album The Center Won't Hold (2019), [19] and Junkie XL's song "The Center Will Not Hold, Twenty Centuries Of Stony Sleep" in the film Zack Snyder's Justice League (2021). [20]
Additionally, the phrase "slouches towards Bethlehem" in the last line is referenced in the title of Joan Didion's collection of essays Slouching Towards Bethlehem (1968), [1] Joni Mitchell's musical adaptation of the poem "Slouching Towards Bethlehem" (1991), [21] Robert Bork's non-fiction work Slouching Towards Gomorrah (1996), Daniel Ravipinto and Star Foster’s interactive fiction game Slouching Towards Bedlam (2003), [22] and Brad DeLong's economic history Slouching Towards Utopia (2022). [23]
Other works whose titles come from lines in the poem includes Walker Percy’s novel The Second Coming (1980), [1] Robert B. Parker's novel The Widening Gyre (1983), and multiple songs in Moby's album Everything Was Beautiful, and Nothing Hurt (2018). [24]
The poem is quoted extensively in a number of books, including Arthur M. Schlesinger Jr.'s political manifesto The Vital Center: The Politics of Freedom (1949), [25] and Stephen King's novel The Stand (1978). [1]
It is also quoted extensively in numerous films and TV shows, including the episode "Revelations" (1994) of Babylon 5, [26] the director's cut of Nixon (1995), [27] multiple episodes including "The Second Coming" (2007) of The Sopranos , [28] the last episode of Devs (2020), [29] the episode "The Queen's Speech" (2021) of See [30] and the Season 1, fifth episode, "The Dogcatcher" (2023) of the Netflix series "The Diplomat".
William Butler Yeats was an Irish poet, dramatist and writer, and one of the foremost figures of 20th-century literature. He was a driving force behind the Irish Literary Revival, and along with Lady Gregory founded the Abbey Theatre, serving as its chief during its early years. He was awarded the 1923 Nobel Prize in Literature, and later served two terms as a Senator of the Irish Free State.
Wilfred Edward Salter Owen MC was an English poet and soldier. He was one of the leading poets of the First World War. His war poetry on the horrors of trenches and gas warfare was much influenced by his mentor Siegfried Sassoon and stood in contrast to the public perception of war at the time and to the confidently patriotic verse written by earlier war poets such as Rupert Brooke. Among his best-known works – most of which were published posthumously – are "Dulce et Decorum est", "Insensibility", "Anthem for Doomed Youth", "Futility", "Spring Offensive" and "Strange Meeting". Owen was killed in action on 4 November 1918, a week before the war's end, at the age of 25.
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Richard David Ellmann, FBA was an American literary critic and biographer of the Irish writers James Joyce, Oscar Wilde, and William Butler Yeats. He won the U.S. National Book Award for Nonfiction for James Joyce (1959), one of the most acclaimed literary biographies of the 20th century. Its 1982 revised edition won James Tait Black Memorial Prize. Ellmann was a liberal humanist, and his academic work focuses on the major modernist writers of the 20th century.
Slouching Towards Bethlehem is a 1968 collection of essays by Joan Didion that mainly describes her experiences in California during the 1960s. It takes its title from the poem "The Second Coming" by W. B. Yeats. The contents of this book are reprinted in Didion's We Tell Ourselves Stories in Order to Live: Collected Nonfiction (2006).
Michael Robartes and the Dancer is a 1920 book of poems by W. B. Yeats.
Slouching Towards Gomorrah: Modern Liberalism and American Decline is a 1996 non-fiction book by Robert H. Bork, a former United States Court of Appeals judge. Bork's thesis in the book is that U.S. and more generally Western culture is in a state of decline and that the cause of this decline is modern liberalism and the rise of the New Left. Specifically, he attacks modern liberalism for what he describes as its dual emphases on radical egalitarianism and radical individualism. The title of the book is a play on the last couplet of W. B. Yeats's poem "The Second Coming": "And what rough beast, its hour come round at last, / Slouches towards Bethlehem to be born?" Bork contends that the "rough beast of decadence … now sends us slouching towards our new home, not Bethlehem but Gomorrah." More directly, the title borrows from Joan Didion's Slouching Towards Bethlehem.
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Slouching Towards Bethlehem is a 1968 collection of essays by Joan Didion and mainly describes her experiences in California during the 1960s.
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The Centre Cannot Hold may refer to: