“I dream of a Ledaean body, bent
Above a sinking fire, a tale that she
Told of a harsh reproof, or trivial event”

In the opening lines of the second stanza, the speaker presents a dream scenario featuring a “Ledaean body.” The use of “Ledaean” connects to Greek mythology, specifically Leda, who was seduced by Zeus in the form of a swan. The imagery of this body being “bent” suggests a posture of vulnerability or a contemplative stance. The setting above a “sinking fire” introduces a metaphorical element, where the diminishing flames could signify waning passion, the passage of time, or the fading of a significant event. The tale mentioned, involving a “harsh reproof” or a seemingly minor incident, introduces the power of storytelling to shape perceptions of events, emphasising the subjective nature of memory.

“That changed some childish day to tragedy—
Told, and it seemed that our two natures blent
Into a sphere from youthful sympathy,
Or else, to alter Plato’s parable,
Into the yolk and white of the one shell.”

The following lines delve into the consequences of the recounted tale. The transformation of a “childish day to tragedy” highlights the emotional impact of experiences in childhood, emphasising the lasting resonance of seemingly insignificant moments. The phrase “our two natures blent” suggests a merging of identities, creating a shared emotional sphere fueled by “youthful sympathy.” This blending of natures underscores the communal aspects of storytelling and memory, emphasising the collective human experience. The reference to Plato’s parable introduces a philosophical layer, suggesting a reinterpretation or alteration of individual narratives to form a unified understanding. The metaphor of the “yolk and white of the one shell” symbolises a harmonious fusion, echoing themes of unity and shared identity.

Critical Commentary:
These lines deepen the exploration of memory and storytelling, portraying the transformative power of narratives to shape individual and collective identities. The dream sequence, infused with mythological references, adds a layer of symbolism, emphasising the enduring impact of shared experiences. The mention of Plato’s parable introduces a philosophical dimension, inviting reflection on the nature of storytelling and its ability to forge connections and understanding. The stanza contributes to the broader themes of the poem, highlighting the interplay between personal and shared memories and the profound influence of storytelling on the shaping of one’s identity.

“And thinking of that fit of grief or rage
I look upon one child or t’other there
And wonder if she stood so at that age—”

The opening lines of the third stanza reveal the speaker’s contemplation of a past emotional upheaval, possibly the one mentioned in the dream. The speaker observes children in the present and wonders if one of them, representing the “Ledaean” figure from the dream, experienced a similar emotional turmoil at that age. This contemplation underscores the continuity of human experience across generations and the universal nature of emotional struggles.

“For even daughters of the swan can share
Something of every paddler’s heritage—
And had that colour upon cheek or hair,”

The reference to “daughters of the swan” reinforces the mythological motif, suggesting a shared legacy or heritage among those with a connection to the mythical swan. The mention of “every paddler’s heritage” introduces a broader human experience, emphasising the commonality of emotional trials that transcend individual backgrounds. The specific details of “colour upon cheek or hair” add a visual and emotional element, connecting the present child to the vivid imagery of the dream and highlighting the enduring impact of past experiences.

“And thereupon my heart is driven wild:
She stands before me as a living child.”

The concluding lines express the emotional intensity of the speaker’s reflection. The phrase “my heart is driven wild” conveys a visceral response to the realisation that the present child embodies the living manifestation of the past dream. This moment of recognition brings together the themes of memory, continuity, and the timeless nature of human emotions. The child becomes a tangible link between past and present, embodying the enduring essence of shared experiences.

Critical Commentary:
In this stanza, the speaker’s contemplation of past emotions intersects with the observation of present-day children, creating a poignant connection between generations. The use of mythological imagery and the metaphor of the swan’s legacy adds depth to the exploration of shared human experiences. The final lines emphasise the emotional impact as the present child becomes a living embodiment of the past, underscoring the theme of continuity and the timeless nature of human emotions. This stanza contributes to the overarching exploration of memory, identity, and the interplay between personal and collective experiences.

“Her present image floats into the mind—”

The opening line introduces a shift in focus as the speaker transitions from contemplating the past to considering the present. The phrase “floats into the mind” suggests the present image’s subtle and elusive emergence, indicating the subjective and fluid nature of memory and perception.

“Did Quattrocento finger fashion it
Hollow of cheek as though it drank the wind
And took a mess of shadows for its meat?”

The speaker engages in a reflective inquiry about the nature of the present image. The reference to the Quattrocento, an artistic and cultural movement of the 15th century, adds an aesthetic dimension to the contemplation. The description of the image as “hollow of cheek” and consuming “a mess of shadows for its meat” introduces a surreal and symbolic element. These vivid visual metaphors convey a sense of fragility and ethereality, raising questions about the nature of perception, beauty, and the substance of existence.

“And I though never of Ledaean kind
Had pretty plumage once—enough of that,”

The speaker acknowledges a personal divergence from the mythological narrative of Leda but chooses to redirect the focus. The admission of having “pretty plumage once” hints at a personal history of beauty or adornment, but the abrupt interruption with “enough of that” suggests a desire to avoid dwelling on the past or indulging in self-reflection.

“Better to smile on all that smile, and show
There is a comfortable kind of old scarecrow.”

The concluding lines bring a shift in tone as the speaker advises a redirection of attention. The notion of smiling on all that smile implies a stoic acceptance of the complexities of life, akin to the resilience of an old scarecrow. The metaphorical comparison to a scarecrow suggests comfort in embracing one’s imperfections and the passage of time, reinforcing the theme of acceptance and the inevitability of change.

Critical Commentary:
This stanza explores the interplay between past and present, contemplating the nature of the present image and its artistic or symbolic qualities. The reference to the Quattrocento adds a historical and cultural layer to the speaker’s reflections. The vivid metaphors depicting the present image as hollow and consuming shadows contribute to the poem’s surreal and introspective atmosphere. The personal acknowledgement of a divergent history and the subsequent redirection of focus towards a metaphorical scarecrow create a nuanced exploration of self-perception, acceptance, and the passage of time.

“What youthful mother, a shape upon her lap
Honey of generation had betrayed,”

The opening lines pose a poignant rhetorical question, directing attention to a youthful mother holding a newborn child. The metaphorical “shape upon her lap” represents the infant, referred to as the “Honey of generation.” The term “betrayed” introduces a complex layer of emotion, suggesting the inevitable hardships and challenges that come with the act of bringing life into the world.

“And that must sleep, shriek, struggle to escape
As recollection or the drug decide,”

The subsequent lines vividly describe the inevitable phases of life—sleep, shriek, and struggle—highlighting the cyclical nature of human existence. The reference to recollection and the role of a drug introduces the idea of coping mechanisms and how individuals navigate the challenges presented by memory and external influences.

“Would think her son, did she but see that shape
With sixty or more winters on its head,”

The rhetorical question evolves, imagining the perspective of the youthful mother witnessing the same child with “sixty or more winters on its head.” This stark image emphasises the passage of time and the transformative journey from infancy to old age. The juxtaposition of the youthful shape and the ageing individual prompts reflection on the compensations and uncertainties inherent in the cycle of life.

“A compensation for the pang of his birth,
Or the uncertainty of his setting forth?”

The final lines delve into the theme of compensation, questioning whether the ageing individual, with the weight of accumulated experience, can serve as compensation for the initial hardships of birth and the uncertainties associated with one’s journey in life. The use of “pang” evokes a sense of emotional pain, further emphasising the challenges of existence and the potential redemptive qualities found in the resilience and wisdom gained over time.

Critical Commentary:
This stanza explores the complexities of the life cycle, contemplating the enduring impact of birth and the uncertainties of existence. The vivid imagery of the newborn’s experiences and the rhetorical question about the ageing individual as compensation invite readers to reflect on the inherent struggles and rewards of life. The interplay between generational perspectives adds depth to the thematic exploration of time, memory, and the cyclical nature of human existence.

“Plato thought nature but a spume that plays
Upon a ghostly paradigm of things;”

The opening lines introduce philosophical perspectives, attributing to Plato the belief that nature is a fleeting foam, playing on a spectral model of reality. The term “spume” conveys the ephemeral and insubstantial nature of the natural world, while the reference to a “ghostly paradigm” suggests an ethereal framework that Plato ascribes to the physical world.

“Solider Aristotle played the taws
Upon the bottom of a king of kings;”

The contrast with Aristotle follows, characterising him as more grounded and practical (“solider”). The mention of “taws” suggests a disciplinary approach, emphasising Aristotle’s engagement with the tangible aspects of reality. The phrase “bottom of a king of kings” evokes a hierarchical structure, portraying Aristotle as a stern disciplinarian shaping the foundations of a regal order.

“World-famous golden-thighed Pythagoras
Fingered upon a fiddle-stick or strings
What a star sang and careless Muses heard:”

The stanza then turns to Pythagoras, renowned for his contributions to mathematics and music. The imagery of Pythagoras fingering a “fiddle-stick or strings” aligns with his association with the mathematical principles underlying musical harmony. The reference to a star singing and careless Muses hearing underscores the intersection of cosmic and artistic elements in Pythagorean philosophy.

“Old clothes upon old sticks to scare a bird.”

The concluding line employs a metaphorical image, suggesting that the teachings of these ancient philosophers are like old clothes on sticks, serving the purpose of frightening a bird. This metaphor implies a certain antiquated quality to their ideas, perhaps emphasising their obsolescence in the speaker’s contemporary context.

Critical Commentary:
This stanza delves into the contrasting philosophical perspectives of Plato, Aristotle, and Pythagoras. The use of vivid imagery and metaphorical language conveys the essence of each philosopher’s worldview. The juxtaposition of Plato’s ethereal conception of nature, Aristotle’s pragmatic approach, and Pythagoras’s blend of mathematics and music adds depth to the poem’s exploration of human thought and the diverse ways in which individuals engage with the mysteries of existence. The metaphor in the final line subtly suggests a certain scepticism or dismissiveness toward these ancient philosophies in the face of the speaker’s own reflections on life and ageing.

“Both nuns and mothers worship images,
But those the candles light are not as those
That animate a mother’s reveries,
But keep a marble or a bronze repose.”

The stanza begins with a comparison between nuns and mothers, asserting that both groups engage in worship, particularly of images. The distinction is drawn between the images illuminated by candles, which lack the vitality of those that come to life in a mother’s dreams. The reference to “marble or a bronze repose” suggests a static and lifeless quality in the images typically venerated in religious or contemplative settings.

“And yet they too break hearts—O Presences
That passion, piety or affection knows,
And that all heavenly glory symbolise—
O self-born mockers of man’s enterprise;”

The speaker acknowledges that even though these images lack the vivacity of those in a mother’s imagination, they still possess the power to “break hearts.” The capitalised “Presences” conveys a sense of reverence or recognition of a higher power inherent in these images. The following lines attribute to these presences the ability to symbolise “passion, piety, or affection” and embody “heavenly glory.” The final line describes them as “self-born mockers of man’s enterprise,” suggesting a dual nature—both transcendent and mocking—perhaps highlighting the complexity and ambiguity of religious or spiritual pursuits.

Critical Commentary:
In this stanza, Yeats explores the dual nature of religious or contemplative images, drawing a contrast between the static representations often venerated in religious rituals and the dynamic, emotionally charged images that arise in the imagination of a mother. The acknowledgement that these images, despite their apparent lifelessness, can “break hearts” reflects the profound impact that symbolic representations can have on human emotions. The stanza touches on themes of passion, piety, and the elusive nature of heavenly glory, alluding to the paradoxical relationship between spiritual aspirations and the challenges of earthly existence. The closing line introduces an element of irony, suggesting that these images both emanate from a divine source (“self-born”) and mock human endeavours, underscoring the enigmatic and multifaceted nature of religious or spiritual experiences.

“Labour is blossoming or dancing where
The body is not bruised to pleasure soul,
Nor beauty born out of its own despair,
Nor blear-eyed wisdom out of midnight oil.”

In the opening lines, Yeats explores the relationship between labour, the soul, and creativity. The assertion that “Labour is blossoming or dancing where / The body is not bruised to pleasure soul” suggests that true productivity and creativity arise when one’s physical efforts do not harm the soul. The next line expands on this idea, emphasising that genuine beauty and wisdom cannot emerge from self-inflicted suffering or despair. The reference to “midnight oil” alludes to the traditional image of burning the midnight oil for intellectual pursuits, suggesting that wisdom should not be derived solely from strenuous and wearisome endeavours.

“O chestnut tree, great rooted blossomer,
Are you the leaf, the blossom or the bole?
O body swayed to music, O brightening glance,
How can we know the dancer from the dance?”

The stanza shifts to a metaphorical reflection on a chestnut tree, posing a question about identity and essence. The speaker contemplates whether the tree is defined by its leaves, blossoms, or trunk, drawing a parallel to the ambiguity in understanding the relationship between the dancer and the dance. The concluding lines pose a philosophical inquiry into the inseparability of the dancer and the dance, prompting consideration of how one can distinguish the two.

Critical Commentary:
In the final stanza, Yeats delves into the nature of labour, creativity, and the intrinsic connection between the labourer and the product of their efforts. The imagery of a chestnut tree serves as a metaphor for the complexities of identity and existence. The rhetorical question regarding the tree’s components echoes the larger existential question of how to discern the essence of a thing or a person. The final inquiry, “How can we know the dancer from the dance?” encapsulates the overarching theme of the poem, emphasising the interconnectedness of human experience, creativity, and the challenge of unravelling the mysteries of existence. The stanza calls for contemplation on the fundamental nature of identity and the intricate dance between the creator and the creation.