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YEATS'S BYZANTIUM POEMS: A STUDY OF THEIR DEVELOPMENT
By Ctjrtis Bradford
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Curtis Bradford 111
In ink of a different color, hence presumably at a This comment, taken together with the fact that
later time, Yeats cancelled the passage I have Byzantine art works break the flood of images,
placed in parentheses, and wrote over it: the bitter furies of complexity at the climax of
. . . A walking mummy; flames at the street corners "Byzantium," indicates that Yeats's later By?
where the soul is purified. Birds of hammered gold zantium, though he distinguishes it from his
singing in the golden trees. In the harbour [dolphins] earlier, remains essentially the same. This same-
offering their backs to the wailing dead that they may ness in difference is a characteristic stratagem
carry them to paradise. (Both passages transcribed with Yeats. In the development of nearly all his
from the MS of the 1930 Diary.)
recurring symbols new shades of meaning will
When we look in A Vision for a description of be added while the old meanings are retained.
Byzantium near the end of the tenth century,
3. The Drafts of "Sailing to Byzantium"
we do not easily find it. Perhaps Yeats had in
mind the concluding paragraphs of section iv of Yeats composed the drafts of "Sailing to
"Dove or Swan," perhaps he is there describing Byzantium" in a looseleaf notebook, and he did
both Eastern and Western Europe. The thought not number his pages before he removed the
of those paragraphs is similar to the thought of sheets for filing. I have arranged the drafts in
the original prose version of "Byzantium," what seems to me their proper order from inter?
quoted above, especially in this passage: nal evidence, working back and forward from a
. . . All that is necessary to salvation is known, but as typescript version of the poem corrected in
I conceive the age there is much apathy. Man awaits Yeats's hand and dated 26 September 1926. Ac?
death and judgment with nothing to occupy the cording to his own dating of the printed poem,
worldly faculties and is helpless before the world's Yeats finished it in 1927. The MSS which pre-
disorder, and this may have dragged up out of the sub- cede the typescript are in pencil; those which
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112 Yeats's Byzantium Poems
Xlfly from things becoming to the thing become O dolphin haunted wave of flooding gold
I fly from nature to Byzantium might
Among these sunbrowned pleasant mariners fold
X To the gold and ivory sight
X I seek for gold and ivory of Byzantium bold
* * *
[A3] [A6]
Or Phidias Procession on procession, tier on tier
ThGToforo -? travel/ Flying from nature towards Saints and apostles in the gold of a wall
Byzantium X As though it were God's love await
Among these dark skinned pleasant mariners X Symbolic of God's love await my prayer
I long for St. Sophia's sacred dome X Turn their old withered heads and wait my prayer
X That I may look on painted [?] columned dome X Or into sea like tier
X Statues of Phidias X Or lost wall
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Curtis Bradford 113
X As if God's love were Under the hills as in our fathers* day
X As if God's burning The changing colours
heart of the hills and seas
awaits my prayer
X To fill me with All that men know, or think they know, being young
As in God's love will refuse my prayer Cry that my tale is told my story sung
When prostrate on the marble step I fall
X And cry aniid my tears? X I therefore travel towards Byzantium
And cry aloud?"I sicken with desire X Among these sun-brown pleasant mariners
Though/ And fastened to a dying animal X Another dozen days and we shall come
Cannot endure my life?0 gather me X Under the jetty and the marble stair
Into the artifice of eternity."
But now these pleasant dark-skinned mariners
* * *
Carry me towards that great Byzantium
[A7J Where all is ancient, singing at the oars
That I may look in the great churches dome
And if it be the dolphin's back take On gold-embedded saints and emperors
spring After the mirroring waters and the foam
sake
Where the dark drowsy fins a moment rise
Of hammered gold and gold enamelling Of fish that carry souls to Paradise.
That the Greek goldsmiths make
And set in golden leaves to sing 0 saints that stand amid God's sacred fire
Of present past and future to come As in the gold mosaic of a wall
For the instruction of Byzantium Consume this heart and make it what you were
Unwavering, indifferent, fanatical
It faints upon the road sick with desire
[A8] But fastened to this dying animal
X If it must be the dolphin I shall take Or send the dolphin's back, and gather me
X And if I stride the dolphin I shall take Into the artifice of eternity
The sensual shears being past I shall not take
No shifting form of nature's fashioning The sensuous dream being past I shall not take
X The shears being past but such as goldsmiths make A guttering form of nature's fashioning
But rather that the Grecian smithies make
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling Of hammered gold and gold enamelling
At the emperor's order for his Lady's sake At the Emperor's order for his lady's sake
And set upon a golden bough to sing And set upon a golden bough to sing
To lords and ladies of Byzantium To lords and ladies of Byzantium
Of what is past, or passing or to come Of what is past or passing or to come.
O saints that stand amind God's sacred fire [Below is Yeats's revision of the typescript re-
As in the gold mosaic of a wall produced above.]
X Transfigure me and make me what you were [B2J
Consume this heart and make it what you were
X Rigid, abstracted, and fanatical Towards Byzantium
Unwavering, indifferent, and fanatical Here all is young; the chapel walls display
X The body buried away?sick with desire An infant sleeping on His Mother's knees
It faints upon the road?sick with desire Weary with toil Teig sleeps till break of day
Being/ But fastened to this dying animal That other wearied with night's gallantries
Or send the dolphin's back and gather me Sleeps the morning and the noon away
Into the artifice of eternity. 1 have toiled and loved until I slept like these
A glistening labyrinth of leaves [;] a snail
[WBY indicates by arrows that the order of these
Scrawls upon the mirror of the soul.
two stanzas is to be reversed.]
* * * But now I travel to Byzantium
With many a dark skinned pleasant mariner
[The first complete version of the poem,
follows, is from a typescript.4]
4 Norman Jeffares gives an eclectic version of this type?
script in RES, January 1946. My versions are progressive. I
[BI]
print first the typed words, then, below, Yeats's revisions.
Towards Byzantium These revisions, including the date, are all in Yeats's hand.
There are two copies of this typescript. WBY worked on the
All in this land?my Maker that is play first pages of both copies, that is on stanzas i and ii, but on
Or else asleep upon His Mother's knees only one copy of page 2, that is stanzas iii and iv. I transcribe
Others, that as the mountain people say the first page that has the latest revisions and the revised
Are in their hunting and their gallantries second page.
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114 Yeats's' Byzantium Poems
[C2] * * *
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Curtis Bradford 115
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116 Yeats's Byzantium Poems
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Curtis Bradford 117
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118 Yeats's Byzantium Poems
Before printing the poem in October Blast Yeats Or set upon a golden bough to sing.
revised these lines to read
"Set me" has the unfortunate effect of remind-
And be the singing masters of my soul. ing us that the protagonist is still a mortal man
Consume my heart away; sick with desire praying for a new incarnation; in the revised
And fastened to this dying animal.
line the reincarnation has miraculously occurred.
It knows not what it is; and gather me
Into the artifice of eternity.
Finally, in the last line of his poem Yeats returns
to the reading found in BI and B2; "Of what is
Donald Davie has suggested that Yeats made past or present or to come / Of what is past, or
this revision because he came to feel a need to
passing, or to come."
start "a new musical (i.e., metrical and syntac- The most surprising thing about these drafts
tical) unit with 'sick with desire.' " What Yeats
is the persistence of the dolphin and its final
does is to break down one flowing syntactical disappearance. I believe that "Byzantium" grew
unit into four syntactical units, the phrasinginofpart from this suppression of the dolphin.
all these units is made more crisp and pungent,
The phrasing of the second poem is in several
and they are separated by heavier syntactical places anticipated in phrases dropped during the
stops. When Yeats does this, he sets up a power?
draftingof the first (e.g., "Grecian smithies"); its
ful counterpoint between the metrical unit, principal
the action is anticipated in such draft lines
line, and the syntactical unit, the clause. asHis
revision also changed the thought of these lines.
Or send the dolphin's back, and gather me
In the C version it is the soul "That knows not
Into the artifice of eternity.
what it is"; in the finished poem the human
heart knows not what it is. To achieve this more The explanation of Yeats's return to Byz
audacious statement, Yeats introduces the newtium is partly to be found in an exchange
thought "Consume my heart away" in line 21 letters with Sturge Moore. On 16 April 19
Moore wrote, "Your Sailing to Byzantium,
and drops "knows not what it is" two lines. The
syntactically weak subordinate clause "That magnificent as the first three stanzas are, lets me
knows not what it is" becomes a main clause down in the fourth, as such a goldsmith's bird
"It knows not what it is." The consequence is as
ofmuch nature as a man's body, especially if
these changes was momentous, for when "knows it only sings like Homer and Shakespeare of
not what it is" was dropped two lines it dis-
what is past or passing or to come to Lords and
placed the dolphin, present from the first Ladies."
un- Yeats wrote the original prose version
certain beginnings of the poem. of "Byzantium" on 30 April 1930, almost im?
Stanza iv. The dolphin once gone, Yeats mediately
had on receiving Moore's letter; he had a
to drop his second allusion to it. In line 25complete
"The version done by 11 June. On 4 October
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Curtis Bradford 119
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120 Yeats's Byzanitum Poems
[Page
[The next five lines have been 4 of the at
added MS] the side of
the page, in pencil.] And there is a certain square where tail flames wind
Limbs that have been bound in mummy and unwind cloth
Are more content with a winding And inpath
the flames dance spirits, by that/ their
A mouth that has no moisture and no breath agony made pure
May better summon me And though they are all folded up in flame
To adore It cannot singe a sleeve
live
That summon or beckon me
I adore that mystery sleeve
X Called death in life, or X Flames upon the marble
And call it death in life, or life in death X A flame on the cathedral pavement flits
That I call death or li [Added in pencil] At midnight on the marble pavement flits
X A certain flame
I hail the superhuman X Flames that no wood/-fee4/ faggot feeds, no hand
X Or death in life has lit
And call it etc. A flame-tbaV nor faggot feeds, no mortal/ nor taper
lights
Nor breath of wind disturbs and to this/ that flame
[Page 3 of the MS] X-Gaft/ May the/ Do-aH/ the unrighteous spirits come
Miracle, bird or golden handiwork Aftd/ May all unpurged spirits come
More miracle than bird or handiwork And all their blood begotten passion leave
XSings to the starlight
[Three lines in pencil, cued in from the facing
XSet hidden [?] by golden leaf
page]
X[Partial line, undeciphered]
XWhat mighty hand-w/ and imagined out of metal Ati/ -The/ May blood besotted spirits come
X And all that blood's imagination leave,
In scorn stood imbued And all blood's fury in that flame may leave
X In mockery of nature'sAndblood and
the agony -ef-a-daft/ agonypetal
of trance!
X In mockery of nature's That mire and
is a measured danceblood
X In mockery metal O agony of the flame/^fee-that cannot singe a sleeve!
X Mocking blind nature's mire and blood * * *
X A great
X What great artificer [?] [Page 5 of the MS]
X What mind decreed or hammer shaped the metal,
X A straddle on the dolp
X Of golden X Come the thin shades
XThe
Sings all/ Carolo/Mutters night long out of a golden
X The blood besotted
bough
A straddle on the dolphin's mire and blood
Or sings/ What the birds of Hades know
X Where the
X Or roused by star or moonlight mocks
X Come spirits where
X Or wakened by the moonlight sings aloud/ scorns
Or by the star or moonlight wakened mocks aloud
These spirits/ The crowds approach; the marble
breaks the flood;
X Under a golden or a silver petal
X The lettered marble of the emperor;
X Under a golden
X The enchanted marble/ pavement of the emperor;
X Out of the glory of its changeless metal
X Shadowy feet upon the floor,
X In mockery of leaf and petal
X Innumerable -feet-, passion heavy feet
X Mockery of man
X Intricacy of the dancing floor
A/ iiv/ In glory of changeless metal
Living leaf or petal X The intricate pavement of the emperor,
And man's intricacy of mire and blood X Flame upon the dancing floor
X Simplicity
[The following from the side of the page]
X Or else by the stars or moon em The bronze and marble of the emperor
Mutters upon a starlight golden bough Simplicity of the dancing floor
What the birds of Hades know
X A crowd of spirits
Or by the moon embittered scorns aloud X Breaks
In glory of changeless metal X The fin tortured
X The dolphin torn
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Curtis Bradford 121
A- bobbin
X The dolphin tortured tide 4hftfr4s/ Hados -a- bobbin/ For Hades'
breaks
X That dolphin tortured floodbobbin breaks
bound in mummyintocloth spray
Can unravol/ May
X That gong tormented current unwind the 4a-
breaks windingopray/
path in
foam A mouth that has no moisture and no breath
Breathing tormented
X The dolphin torn, the gong mouths may summon sea.
# * * I hail the superhuman
[Back to
[Opposite page 5 of the MS]original page]
X Breaks Aftd/ I call it death in life and life in death.
Breaks the bleak glittering intricacy III
X Breaks
Miracle, bird, or golden handiwork,
X breaks into foam/ spray More miracle than bird or handiwork
X Breaks
X Mutters upon a starlit golden bough Planted
X Blood blind images yet on a starlit golden bough
X Blood blind images that yet X All that the birds of Hades know Can like the
X Where blind images beget cocks of Hades crow
X Where the blind images beget Or by the moon embittered scorn aloud
X In glory of changeless/ measured [?] metal
X Whore blind/ Break images-ea?/ that yet
X Living leaf or petai
X Blinder images beget
X And/ Man's intricacy/ -Of blind/ measureless im?
X The dolphin torn, the gong tormented sea.
agery of mire and blood
Where blind images can yet
[Cued in from the facing page]
Blinder images beget
The dolphin torn and gong tormented sea. In ?&& simplicity of/ A&4ha4- glory of changeless
metal
* * *
X Common/ Bird or leaf or petal
X Living passages
[Page 6 of MS, with leaf or petal cued in f
X And/ Every complexity of mire and blood
facing page inserted]
Common bird or petal
I And all complexities of mire and blood
All the 4e?V loud/ The unpurged images of day [Back to original page]
recede
IV
OUlLIlvIl, lUDUUI Uiiu. Trttrttttr crrcy xiit tixij^viui o
drunken soldiers are a bed At midnight on the marble/ emperor's pavement
Night's resonance recedes, night walker's song flits
After cathedral gong; A flame nor faggot feeds nor taper lights
A starlit or a moonlit dome disdains8 Nor breath disturbs, X-*?etf/4e>4ha4r flame begot?
All that man is, ten flame
All tho intricacieo/ mere complexities X and to that flame born
All the miro and blood/ mere blood and mire and flame
blood of human veins a flame begotten flame
X There images and spirits come
II
X Images and spirits come
Before me troads/ ffoats an image, man or shade X-AH/ There imaged spirits thither come
Shade more than man, more image than a shade; X Aftd/ There all that blood-begotten fury leave
X An image that was wound/ bound in mummy cloth X 0 agony of trance
X That is a measured dance
X Bost knowo/ Recalls or can recall that winding
path; X O agony of flame that cannot singe a sleeve
X A mouth that has no moisture and no breath 8 Throughout the drafts, and in the Cuala Press Words for
X Cries out the summons Music, the spelling "distains" is found. Yeats would not have
X Can stoutly summon X Man's blood-?ay/ can distinguished disdains/distains in pronunciation, according
X Can merrily summon X Can all blood summon to Mrs. Yeats, and she regards "distains" as a misspelling
X I hail the superhuman that got into print because the Cuala Press set from Yeats's
MS. Whether Yeats corrected "distains" to "disdains" or
[Cued in from the opposite page] changed "distains" to "disdains," it seems certain that he
and no other introduced the present reading in Macmillan's
X Can best/ Unbinds the bobbin of the path The Winding Stair. The Variorum Edition shows that the
X All a breathing mouth can texts of poems included in Words for Music were very care?
X All breathing clay fully corrected for the Macmillan book. No one but Yeats
X Mire and blood can summon could have done this correcting.
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122 Yeats1 s Byzantium Poems
[The revised version of stanza v given below was [Yeats completed this draft on the facing page,
written into a blank space on this page some time transcribed below]
after Yeats had completed the next draft of
"Byzantium."] A straddle on the.dolphin's mire and blood
A straddie on the Dolphin's mire and blood Those crowds approach; smithies break the flood,
Those crowds approach; smithies break the flood, The golden smithies of the emperor;
The golden smithies of the emperor; Marbles of the dancing floor
Marbles of the dancing floor X Break bitter, bleak, aimloss/ stupid aimless furies
Break bleak/ bitter, bleak, aimless complexities, of complexity,
Those images that yet Those images that yet
More images beget More/ Fresh/ More images beget,
That dolphin torn, that gong tormented sea. That dolphin torn, that gong tormented sea.
X Break the bleak fury or blind complexity
X Of images that yet
[Page 8 of the MS] X Fresh images beget
Break bleak/ blind/ bitter furies of complexity
Byzantium
Those images that yet
Fresh images beget
[That dolphin torn, that gong tormented sea.]
The unpurged images of day recede;
The emperor's drunken soldiery are a bed;
Night's resonance recedes, night-walker's song
And aftor that 4he/ After great cathedral gong, Inserted loose in the manuscript book from
A starlit or a moonlit dome disdains which I have been transcribing is a still later
All that man is, MS of "Byzantium," written on two sheets of
All mere complexities, paper.
AUthat stupidity and/ All moro miro and blood ???? In it Yeats made several changes. Stanza iv
?human vcins/ The fury and the mire of human was revised as follows:
veins.
At midnight on the emperor's pavement flit
II
Flames that no faggot feeds nor steel has lit
Before me floats an image, man or shade, Nor storm disturbs, flames begotten of flame,
Shade more than man, more image than a shade; Where blood begotten spirits come, etc.
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Curtis Bradford 123
of "Byzantium";
Then, in stanza v, Yeats madein a the change
second draft it isthat
re? de?
scribes the movementplacedof by "complexities,"
the blood the key word of the
begotten
finished poem. Eventually
spirits towards the emperor's Yeats will withhold that is
pavement,
towards paradise, less his I-protagonist until
clearly than line 15. In the pencil
earlier ver?
sions. drafts which follow Yeats makes a start on the
magnificent
A straddie on the dolphin's mire line with
and which the finished poem
blood
opens in "All the
Spirit after spirit! The smithies break the tumultuous floods of day .
flood, re-. .
cede," he transfers "intricacies" from the protag?
In stanza n throughout onist the drafts
to the town, the reading
and first introduces the starlit
A mouth that has no moisture and no breath dome of Hagia Sophia. The last four lines of the
Breathing mouths may summon draft look forward toward the rest of the poem;
indeed the last of them, "Mummies and shades
has persisted. Though I thought this reading
and hallowed images" gives too much away. In
might perhaps have authority, Mrs. Yeats told
spite of excess detail that needs to be cut (rob-
me it had none, that she had heard Yeats speak
bers, victims, mummies, shades, and hallowed
the poem so often saying "breathless" that she
was certain he intended "breathless." images), this is a remarkable first draft. Four
rhyme words are in place (recede, beds, song,
Yeats's attack in the drafts of "Byzantium"gong),
is and line 3 is done.
at once quick and precise. After writing the prose Page 2 introduces the walking mummy of the
version of the poem Yeats added that the subjectprose version. Yeats first establishes the rhyme
had been in his head for some time. A study of words he will use in lines 11-13, then he makes
the drafts shows that indeed it must have been, two false starts in which the entire stanza, as it
were, is compressed into two lines. Then in
for the progression of images even in the first
"Before me bends an image man or shade /
draft is essentially that found in the finished
Shade more than man, more image than a shade"
poem. Yeats also decided before beginning work
on the poem to use once again the stanza used he gets the essence of lines 9-10. He goes on to
drafts of 11-14 and has considerable trouble
for "In Memory of Major Robert Gregory," "A
though he does assemble all the materials finally
Prayer for my Daughter," and for the middle sec?
used save "Hades' bobbin." In the first drafts of
tion of "The Tower." This has the rhyme scheme
AABBCDDC which Yeats set at the head of line 14 the mummy summons the protagonist,
the "Byzantium" manuscript. In "Byzantium" that is the poet, relieved of his accidence but
still
Yeats did make one slight change in the stanza a living man; this perhaps explains why in
all the successive drafts of this line Yeats uses
by reducing the number of metrical feet in lines
the phrase "breathing mouths." Lines 15-16 are
6 and 7 from four to three.9 No doubt the fact
nearly
that Yeats had already thoroughly explored this complete. At the end of this draft seven
rhyme
stanza partly accounts for the precision of his words are in place; lines 10, 13, and 15
are done.
attack.
On page 1 and the page opposite to it Yeats As Yeats returns to the golden bird of "Sail?
drafts his first stanza. At the outset he is troubled ing to Byzantium" on page 3, his speed and
by excessive detail, an unusual event in Yeats's assurance seem almost miraculous. He completes
drafts; he introduces quite a company of sen- lines 17-18 instantly?no doubt he had com?
sualists before settling on the soldiery and night- posed them in his head and is merely writing
them down?then has a little trouble with the
walker of the finished poem: "roaring rout of
rascals / every roaring rascal / last brawler / em?
lines that follow. Once the golden bird mocks
peror's brawling soldiers" give place to robbers, nature's mire and blood, the whole stanza has
assassins, benighted travelers. Then silence falls been telescoped, so to speak. Mire and blood
need to be reserved for the end of the stanza.
alike on "the cathedral gong / And the drunken
harlot's song." In the drafts on the opposite page
Yeats filis out his stanza with description of the
Yeats retains the soldiers, the benighted victim, bird and its setting, even for a moment inventing
an artificer of the bird, whom he quickly drops.
the harlot's song, and the cathedral gong; he then
sets the night scene and introduces an "I-pro- Again, by the end of the draft the third stanza
tagonist." 9 Marion Witt discussed this stanza in "The Making of an
I tread the emperor's town Elegy," MP, xlviii (November 1950), pp. 115-116. Frank
All my intricacies grown clear and sweet. Kermode in Romantic Image (London, 1957), pp. 38-40,
notes that Yeats borrowed the stanza from Cowley's "Ode on
"Intricacies" is the key word in the first draft the Death of Mr. William Harvey."
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124 Yeats's Byzantium Poems
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Curtis Bradford 125
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