W.B. Yeats’ “Easter 1916” and Ambivalence Towards Rebellion

In W.B. Yeats’ poem “Easter 1916,” he repeats the phrase “A terrible beauty is born” to emphasize his ambivalence towards the rebels’ cause (Yeats 3). This repetition underscores his belief that the rebellion has brought about a significant change in Ireland, but it has come at a great cost and is, in his view, a mixed blessing.

Several signs in the poem indicate that Yeats has not been entirely converted to the nationalist cause. Firstly, his use of the phrase “where motley is worn” in line 14 suggests that he views the rebels as a diverse and disparate group, united only by their shared cause (Yeats 14). The term “motley” implies a lack of cohesion and uniformity, which may lead Yeats to question the rebels’ ability to bring about lasting change.

Yeats assigns himself the role of an observer and a chronicler of events, rather than an active participant in the rebellion (Yeats 36). He distances himself from the rebels by portraying them as dreamers and idealists who were perhaps misguided by their love for Ireland (Yeats 36). The line “And what if excess of love / Bewildered them till they died” suggests that Yeats sees the rebels as driven by passion and idealism, but also as somewhat naïve in their pursuit of their cause (Yeats 37). This final question conveys Yeats’ conflicted attitude towards the rebellion – he acknowledges the sincerity of the rebels but questions the practicality and consequences of their actions (Yeats 37).

Yeats’ “The Second Coming” and the Chaos of a New Era

In “The Second Coming,” Yeats subverts the traditional falconry pattern, where the bird returns to its master (Yeats 8). Instead, he presents a chaotic and destructive image in which the falcon, representing civilization or order, has lost control, and the “centre cannot hold” (Yeats 8). This change in the pattern symbolizes the breakdown of order and the emergence of chaos.

In the second stanza, Yeats suggests that the new era symbolized by the “rough beast” will be characterized by violence, anarchy, and a sense of impending doom (Yeats 20). The phrase “what rough beast, its hour come round at last, / Slouches towards Bethlehem to be born” conveys a foreboding sense of an impending catastrophe or apocalypse (Yeats 20).

Yeats uses the phrase “Second Coming” ironically by contrasting it with the traditional biblical prophecy of Christ’s return to establish peace and prosperity (Yeats 14). Instead of a benevolent savior, Yeats envisions a monstrous and malevolent force (Yeats 21). This ironic use highlights his pessimistic view of the future and the idea that the world is descending into chaos rather than being redeemed (Yeats 21).

Wilfred Owen’s “Dulce et Decorum Est” and the Harsh Realities of War

If Wilfred Owen had begun “Dulce et Decorum Est” with the statement that the heroic view of war as glory is “the old Lie,” the effect of the poem would have been drastically different (Owen 27). Starting with this statement would have immediately revealed his anti-war stance and undermined the gradual buildup of contrast and imagery throughout the poem. The impact of the poem lies in the progression from describing the horrific realities of war to the ultimate rejection of the glorification of war (Owen 27).

The central contrast Owen develops in the poem is between the idealized, romanticized notion of war as honorable and glorious (the “old Lie”) and the harsh, brutal reality faced by soldiers on the front lines (Owen 1). He illustrates this theme by vividly describing the physical and psychological suffering of soldiers, highlighting the stark difference between the heroic propaganda and the nightmarish truth (Owen 17).

Owen conveys the unexpected and sudden terror of war through his graphic and disturbing imagery (Owen 7). The use of descriptive language, such as “guttering, choking, drowning,” and “blood-shod,” evokes a visceral sense of horror and suffering (Owen 6). The central contrast of the poem, between the false glory of war and the gruesome reality, amplifies the impact of these images, emphasizing the terror and disillusionment experienced by soldiers (Owen 6).

Dylan Thomas’ “The Force That Through the Green Fuse Drives the Flower” and the Cyclical Force of Life and Death

Dylan Thomas’ poem “The Force That Through the Green Fuse Drives the Flower” explores the concept of a universal force that drives both life and death (Thomas 1). This force is not solely identified with life or death but is rather a dynamic and cyclical power that connects the two (Thomas 1). It signifies the perpetual cycle of birth, growth, decay, and death in the natural world (Thomas 1).

The phrase “wintry fever” is indeed an oxymoron (Thomas 3). It represents the contrasting elements of cold and heat, suggesting the conflicting forces at play in nature and life (Thomas 3). This oxymoron highlights the tension and balance between opposing forces, which is a recurring motif in the poem (Thomas 3).

Throughout the poem, Thomas employs various contrasts, such as “green fuse” and “the flower that drives the water,” to emphasize the interconnectedness of life and death (Thomas 5). These contrasts serve to define the “force” as a dynamic and harmonious energy that governs the natural world (Thomas 5).

There are multiple images of death or the means to death in the poem, including references to “the teeth of time” and “the skull beneath the skin” (Thomas 4). These images link human life to the inevitability of mortality and underscore the idea that life and death are inseparable aspects of existence (Thomas 4).

Dylan Thomas suggests that human life is intricately intertwined with the forces of nature (Thomas 7). He implies that just as nature experiences cycles of growth and decay, so too do human lives follow a similar pattern (Thomas 7). The nautical imagery in the poem, with references to “the raving stars,” “the sun,” and “the sea,” underscores the idea that humans are part of the natural world and subject to the same forces of life and death (Thomas 7).

Katherine Mansfield’s “Miss Brill” and the Loneliness of Illusions

In Katherine Mansfield’s short story “Miss Brill,” the events of a single Sunday afternoon reveal significant aspects of Miss Brill’s life (Mansfield 15). Miss Brill is a lonely and isolated woman who finds solace in her weekly visits to the park (Mansfield 15). Her decision to attend the park and her attachment to the fur wrap indicate her need for connection and validation in her otherwise mundane existence (Mansfield 16). The fact that she anthropomorphizes the fur wrap by calling it “little rogue” reveals her desire for companionship and her tendency to project her feelings onto inanimate objects (Mansfield 16).

Miss Brill’s fur wrap functions as a symbol of her desire for warmth, comfort, and a sense of identity (Mansfield 19). It represents her attempt to preserve her dignity and to feel special and valued, especially in the face of her social isolation (Mansfield 19). However, the fur wrap also symbolizes her delusion and the artificiality of her self-image, as it ultimately fails to shield her from the harsh reality of her loneliness (Mansfield 19).

The tone of the story is both sympathetic and ironic (Mansfield 23). While the narrative invites readers to empathize with Miss Brill’s loneliness and desire for connection, it also subtly underscores the irony of her delusion and her failure to recognize her own solitude (Mansfield 23). The revelation of her true place in the world, as observed by the young couple’s harsh comments, adds a layer of irony to the narrative (Mansfield 23). Mansfield encourages readers to reflect on the ways in which people often create illusions to cope with their loneliness and vulnerability (Mansfield 23).