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William Butler Yeats

Sailing to Byzantium

Fiction | Poem | Adult | Published in 1928

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Background

Historical Context

“Sailing to Byzantium” was written by Yeats at 60 or 61 and is his definitive critique of ageing, describing the agony of embodied existence as one inches toward death. His later works—from the 1920s on—are known for their occult orientations. In A Vision (1925), Yeats elucidates the intersection of his symbolism with various esoteric traditions, as well as his own philosophy, at the center of which is the “Great Wheel” or “gyre.” Hermetic traditions and societies were a cornerstone of the early 20th century, with many people conducting seances and attempting to connect with metaphysical beings. Yeats became well-known for his automatic writings in which spirits not only acted as muses for poetry, but were said to be channeled through the poet. In his essay "Magic" (1901), Yeats admitted he believes

[…] in the practice and philosophy of what we have agreed to call magic, in what I must call the evocation of spirits, though I do not know what they are, in the power of creating magical illusions, in the visions of truth in the depths of the mind when the eyes are closed (128).

“Sailing to Byzantium” also anticipates Yeats's foray into the world of eugenics, which he celebrated publicly in 1936 when he joined the Eugenics Society. The speaker’s journey to Byzantium is therefore not merely a means of escaping the body, but to change its makeup for posterity: The old do not belong in nature; their decrepitude is grounds for expulsion, while the young are perfectly suitable for country life, as they mirror the instinctive whims of animals. Yeats may have been a proud Irish man, but there were certain citizens in his homeland whom he viewed as imperfect, coinciding with the rhetoric of degeneration popularized in the 19th and 20th centuries and which culminated in the violence of Nazi Germany. In contrast to the fascist adaptation of the pseudoscience, Yeats’s fixation on eugenics was rooted in his Irish nationalism. In Estrangement (1926), he laments “the new ill-breeding of Ireland, which may in a few years destroy all that has given Ireland a distinguished name in the world” (p. 463). His fascination with eugenics coincides with Malthusian theories of overpopulation, and acts as a response to the modern world, developments in media, the rapid growth of cities, and the need for a birth-control policy in Catholic Ireland.

Literary Context

Yeats’s career unfolded in tandem with the Modernist movement, but began at the tale-end of the Victorian era. While Ezra Pound wrote manifestos about authentically “new” poetics, Yeats was caught between the two worlds, revisiting tradition in order to renew and salvage its remnants, and blending the personal and historical, the sincere and the authentic. His poetic career slowly moved from an inward Romantic phase to an outward Modernist phase. And yet, his Romantic roots often made their way into his later works, and “Sailing to Byzantium” is no exception. The inclusion of a mechanical bird is an obvious allusion to Keats’s “Ode to a Nightingale.” And yet, Yeats’s poem displays so many of the qualities that define Modernist poetry, including discontent and pessimism regarding the rapid changes following the industrialization of the world—changes that also led to World War I.

For Yeats, one must mask oneself and create dramatic persona in order to be sincere, such as the ancient speaker of “Sailing to Byzantium,” who ultimately dramatizes Yeats’s own desires as a writer. The speaker in “Sailing to Byzantium” is disoriented by the direction civilization has taken in modern times. While the speaker and Yeats are not to be conflated, strange tension between the subjective (Yeats’s anxiety about aging) and the objective (the invocation of mythology and metaphysics) functions to create something or someone new.

According to the Modernist tradition, the 20th century is bereft of spirituality and plagued by decay, teeming with the alienation from psychic fragmentation and the collective trauma of war. Yet, this fragmentation was not strictly psychological. It became a reality in Yeats’s native country when the Government of Ireland Act was passed in 1920, resulting in the creation of Northern Ireland—a self-governing facet of the United Kingdom.

Unlike most Modernist poets who insisted on radical newness at all costs, Yeats was a virtuoso of traditional verse. Critics tend to chastise his middle work as giving in to certain Modernist impulses, while they praise his early and later works for their grandiose spirituality. "The Second Coming," for instance, offers an apocalyptic vision that can also be interpreted as a critique of the decline of Europe in the modern period.