Summary
William Butler Yeats's "Lapis Lazuli" is a poem that delves into the intersection of art and tragedy, inspired by a gift he received from Harry Clifton. The carving, made of the semiprecious stone lapis lazuli, is emblematic of an eighteenth-century Chinese scene, prompting Yeats to reflect on the eternal role of art amid the world's inherent sorrows. Throughout the poem, Yeats advocates for the power of art to transcend and transform the tragic realities of life.
Art and the "Hysterical Women"
The poem opens with Yeats addressing the criticisms he perceives from "hysterical women" who are weary of artists and their seemingly carefree nature. Their complaints suggest that while the world stands on the brink of disaster, artists merely indulge in frivolity, failing to contribute any real solution to impending crises. Their fear is illustrated vividly through imagery of warfare: "Aeroplane and Zeppelin will come out, / Pitch like King Billy bomb-balls in / Until the town lie beaten flat." Here, Yeats paints a picture of inevitable destruction, yet he challenges the notion that art is without value in such times.
The Tragic Stage of Life
In the subsequent stanza, Yeats does not dismiss the possibility of violence; instead, he laments the "hysterical wailing" and defends art as a means to endure tragedy. Drawing on Shakespearean characters like Hamlet and Lear, Yeats illustrates that life itself is a continuous play of tragedy, yet the characters on this stage do not collapse under despair: "They know that Hamlet and Lear are gay; / Gaiety transfiguring all that dread." This gaiety is a profound expression of acceptance and resilience in the face of mortality. The beauty and grace of the tragic hero lie in performing their roles with dignity, underscoring that tragedy, no matter how often it appears, "cannot grow by an inch or an ounce."
A Historical Perspective
Yeats expands his meditation in the third stanza by considering the cyclical nature of history, where civilizations rise and fall in an unending caravan. He evokes the image of ancient societies brought to ruin, their knowledge and art lost: "Old civilisations put to the sword. / Then they and their wisdom went to rack." As a case in point, he mentions Callimachus, whose mastery over marble has largely vanished save for a few remnants. Yet Yeats insists that, "All things fall and are built again, / And those that build them again are gay." The joy and purpose of life lie not in the permanence of achievements but in the creative act itself—the continual rebuilding.
The Lapis Lazuli Carving
Yeats's focus turns in the fourth stanza to the specific inspiration behind the poem: the lapis lazuli carving. It depicts three Chinese men, one with a musical instrument, making their way up a mountain. Above them flies a crane, a timeless symbol of longevity in Chinese culture. This scene, while static, stimulates a dynamic and imaginative vision in the poet's mind.
The Imaginative Journey
The final stanza brings the viewer into the world of the carving, where Yeats imagines the men reaching a "little half-way house" under flowering trees. As they listen to mournful music, they gaze down upon the tragic scene below. Their "ancient, glittering eyes, are gay," revealing a profound contentment and acceptance, enriched by their journey. This artistic representation, though solid and unchanging, invites the observer to engage in an imaginative expedition that surpasses the scene's static nature, embodying the triumph of art in a world fraught with tragedy.
Style and Technique
In a world teetering on the brink of conflict, art emerges as both a refuge and a revelation. Through the deft use of language and imagery,...
(This entire section contains 494 words.)
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Yeats weaves a tapestry that critiques the hysteria surrounding impending war while offering art as a vehicle for transcending tragedy. His poem "Lapis Lazuli" juxtaposes the chaotic with the eternal, ultimately celebrating the transformative power of creativity.
Sound and Symbolism
Yeats employs sound devices and connotations with remarkable sensitivity. The opening stanza is a cacophony of colloquial phrases like "sick of" and "beaten flat," intertwined with explosive words and consonantal repetitions such as "drasticdone" and "King Billy bomb-balls." This auditory landscape conveys the bombastic tone of those reacting hysterically to the threat of war. The reference to "King Billy" evokes historical conflicts between England and Ireland, while simultaneously conjuring "Kaiser Bill," a colloquial name for Kaiser Wilhelm II, the German emperor during World War I. Although zeppelins, once fearsome war machines, were obsolete by 1936 when the poem was crafted, Yeats recalls their chilling presence during World War I bombings over London. The specter of war loomed large once more as Germany reoccupied the Rhineland, a prelude to the impending global conflict. Yet, the poem's tone suggests that dramatic, frenzied reactions serve little purpose in the face of genuine threats.
Art as an Antidote
The poet ironically contrasts the hysteria of public lamentations with the composed resolve offered by dramatic art. He does not diminish the violence inherent in war but likens it to the finality of a play's descending curtain. The phrase "Black out; Heaven blazing into the head:/ Tragedy wrought to its uttermost" intertwines the cessation of a theatrical performance with the cessation of life itself. "Black out" becomes a multifaceted term, simultaneously signifying the curtain's fall and the obliteration of human life by a bomb. Yet, "Heaven blazing into the head" suggests enlightenment or a transcendent moment at the play's end or a life’s conclusion. In this way, what appears most dreadful may reveal a glimpse of the divine. Therefore, art must persist, often defiantly, against the "real" world's political machinations and armed strife.
The Infinite Dance of Life and Creativity
Transitioning to a calmer, more reflective tone, the poem's latter section adopts an eternal perspective. Attention shifts from the cyclical nature of violence and death to the enduring cycle of life and creation. Everything is in flux. Even seemingly static art forms celebrate movement, as illustrated by Callimachus who "Made draperies that seemed to rise/ When sea-wind swept the corner." The poet's admiration for the lapis lazuli carving stems not from the stone's physical reality but from the dynamic scene it conjures in the mind. This magical quality of art transports the observer beyond its immediate form, inviting them to once again engage with the joy of creation. Through this, the poet not only defends the importance of art and artists but showcases art in action, as a vital force that transcends mere existence.
