Friday, October 5, 2018


I was reading a review of a new book on Pamela Colman SmithPamela Colman Smith: The Untold Story, by Kaplan, Greer, O'Connor, and Parsons (2018)—which comments that: “W. B. Yeats, for instance, wrote that she looked 'exactly like a Japanese. Nannie says this Japanese appearance comes from constantly drinking iced water.' ” Maybe because I remembered reading it before or because the name Nannie struck me as strange, I went to check. Checking online only repeats the same attribution in the majority of cases, but the odd online source does give the correct source of a letter to W. B. Yeats from his father, J. B. Yeats, as do most of the book sources. But it reminded me of how easily attributions can drift or be misremembered either by proximity or just the jumbling of memory. And how these jumblings are all too easily propagated across the web.

For many years witty quotations have been attributed to Mark Twain and Oscar Wilde to give them some parentage when we are unsure, but careless attribution is becoming more and more common as attributions are simply copied and pasted. Quite a few of the quotations attributed to W. B. Yeats are not really his—sadly, perhaps, because they are among the most widely quoted of his supposed formulations. For instance, out of a supposed Top Ten Quotes published this year for Yeats's birthday, I think only four are authentic:

1. X “Education is not the filling of a pail, but the lighting of a fire.” (see below)
2. X “Do not wait to strike till the iron is hot; but make it hot by striking.” (see below)
3. X “There are no strangers here; Only friends you haven't yet met.” (see below)
4. √ “Tread softly because you tread on my dreams.” (“He Wishes for the Cloths of Heaven”)
5. √ “How far away the stars seem, and how far is our first kiss, and ah, how old my heart.” ("Ephemera")
6. √ “Think where man’s glory most begins and ends, and say my glory was I had such friends.” (“The Municipal Gallery Revisited”)
7. ? “Being Irish, he had an abiding sense of tragedy, which sustained him through temporary periods of joy.” (source uncertain)
8. √ “Come away, O human child: To the waters and the wild with a fairy, hand in hand, For the world's more full of weeping than you can understand.” (“The Stolen Child”)
9. X “People who lean on logic and philosophy and rational exposition end by starving the best part of the mind.” (John Butler Yeats to his son, W. B. Yeats, in 1906)
10. X “Happiness is neither virtue nor pleasure nor this thing nor that but simply growth, We are happy when we are growing.” (John Butler Yeats, again; this time writing to Miss Grierson in 1909, slightly adapted: “And happiness . . . what is it? I say it is neither virtue...” etc.).

The first example—“Education is not the filling of a pail but the lighting of a fire” or sometimes “Education is not filling a bucket, but lighting a fire”—seems to derive from someone reading a passage which gave two quotations together—one by Yeats and one by Plutarch—and somehow eliding the name associated with the second one:
In other words, the key to a lively and a vital appreciation of the arts in the fields of collecting and criticism is the willingness to keep doors open, an eagerness to venture into new fields for the sake of the enjoyment which a work of art can bring.
William Butler Yeats has expressed the heart of this viewpoint in his statement, “Culture does not consist in acquiring opinions but in getting rid of them” and Plutarch in “Education is not the filling of a pail, but the lighting of a fire.” (Vision and Image: A Way of Seeing, James Johnson Sweeney, 1968)
Sweeney was in fact reformulating the traditional translation of Plutarch's Greek, making it a little more pithy: “The mind is not a vessel to be filled, but wood that needs igniting” or in the translation of Philemon Holland, which Yeats read: “For that the minde and understanding of man is not of the nature of a vessell that requireth to be filled up: but it hath neede onely of some match (if I may so say) to kindle and set it on fire” (Plutarch, “Of Hearing”, Moralia). The full story is set out in The Quote Investigator and is also examined in an article from the Irish Times.

The Quote Investigator also tackles a few more Yeats attributions:–

“Do not wait to strike till the iron is hot; but make it hot by striking” is slippery in terms of precise wording, but a similar phrase seems to come first from the pen of Benjamin Franklin in 1782. 

“There are no strangers here, only friends you haven't met” appears to have its origin in the words of the popular American poet Edgar A. Guest, who published a poem titled “Faith" in 1915, which includes the lines: “I believe in the purpose of everything living, / That taking is but the forerunner of giving; / That strangers are friends that we some day may meet..."

Changing the author can change the meaning, and the fuller context often sheds a slightly different light on the words. Looking at the Yeats quotations investigated, there is one that I remember first seeing as part of an informational film at a National Park: “The world is full of magical things, patiently waiting for our senses to grow sharper”. Attributed to Yeats, it hints at “nature's finer forces” and devas or nature spirits, which we may perhaps discern if we subtilize our natures and refine our perceptions through spiritual practice. Yet the quotation (or its original version) comes from the playwright and essayist Eden Phillpotts and actually refers to the use of scientific instruments such as telescope and microscope:
The fimbriated flowers [of the buckbean] are a miracle of workmanship and every blossom exhibits an exquisite disorder of ragged petals finer than lace. But one needs a lens to judge of their beauty: it lies hidden from the power of our eyes, and menyanthes must have bloomed and passed a million times before there came any to perceive and salute her loveliness. The universe is full of magical things patiently waiting for our wits to grow sharper.  (A Shadow Passes, 1919).
It becomes therefore a paean to scientific observation and the senses' need for technology to sharpen them.

Of course, given the frequency with which one or other line of “The Second Coming” is quoted nowadays, two or three of the authentic Top Ten list would probably come from that poem: perhaps “The centre cannot hold,” “The best lack all conviction, while the worst / Are full of passionate intensity,” “And what rough beast, its hour come round at last, / Slouches towards Bethlehem to be born?”.

What else should make that genuine Top Ten?

Tuesday, September 25, 2018

Yeats's Occultism

Although I have looked at the subject on the website, and it deserves far fuller treatment than I give here, the following examination of the implications of the term occult was enthusiastically commented on by one of the people who read the uncut manuscript of the forthcoming book, so I have rescued it from the off-cuts, with a little modification

When writing about his favourite Yeats poem, John Banville observes that Yeats's “occult and alchemical preoccupations, collected in that dotty compendium A Vision, are entirely risible”, before going on to note that “they served to inspire magnificent poetry”.[1] More positively, promoting Catherine Paul's and Margaret Mills Harper's edition of A Vision (1925), the publishers declared that “One of the strangest works of literary modernism, A Vision is Yeats's greatest occult work”.[2]

Yeats very seldom uses the word “occult” in connection with any of his own thought,[3] and he would probably have rejected it as a label for A Vision, yet to many readers it seems the most appropriate single-word description. But it is a problematic word, as it is used in a wide variety of ways by different people and applied to a range of ideas and fields.
"All things rest connected by hidden knots" 

At its simplest it refers to hidden aspects of reality and historically it included such phenomena as gravity and magnetism, forces that operate through unseen means. More generally, it includes an element of the supernatural, and many understand it to indicate something outside the accepted supernatural of religion, often dubious, even dangerous. It can include studies and techniques, ranging from methods of divination and traditional practices to New Age themes and heterodox science; the term can also encompass beliefs and philosophies, particularly when influenced by Eastern religion, paganism, or magic. Many aspects are incompatible with each other, or at least inconsistent, so there is no single meaning to the term, except where it is used negatively to refer to all forms of contact with supernatural or hidden reality outside a particular religion or church. In this context it is usually a condemnation and seen as sinful and, potentially at least, diabolic.

Also related to these terms is the concept of secret or “esoteric” doctrine, communicated to the initiated and hidden within or transcending the commonly understood exoteric forms of religion or thought. Esotericism deals with essences and truths are hard to apprehend, so suitable only for those with the correct mind or preparation.[4] In this sense, Yeats makes A Vision openly available to all readers, but it “is intended… for my ‘schoolmates only’” (E&I xi, CW5 219) from his Hermetic or Theosophical training.

Similarly, “mysticism” is frequently mixed up with “mystery” in general and “occultism” or “magic” more specifically, and Yeats himself used the term for his interests, stating that “the mystical life is the centre of all that I do” (CL1 303). Yet when carefully used the word denotes something largely alien to Yeats, and as more strictly defined it indicates a search for union with the ultimate reality or godhead, rather than the engagement with the manipulation and understanding of creation.

In his biography of Yeats, Terence Brown explicitly shifts the language from Yeats's "mystical" in that letter to a possibly more accurate or more current "occult":
When Yeats wrote to John O'Leary in 1892 that "the mystical life is the centre of all that I do & all that I think & all that I write...." (CL1 303), he was identifying what had been his principal preoccupation since he had left the High School: the occult. And the occult was to remain a controlling, energizing obsession throughout his life. (The Life of W. B. Yeats, 32-33)
James Webb described the occult as “rejected knowledge” and, though the definition may have limitations in other contexts, it applies well to Yeats’s interests.[5] Tracing the nineteenth-century “flight from reason,” Webb suggests that there is “a perennial Underground of rejected knowledge,” one “comprising heretical religious positions, defeated social schemes, abandoned sciences, and neglected modes of speculation, has as its core the varied collection of doctrines that can be combined in a bewildering variety of ways and that is known as the occult”.

This rejected knowledge includes science that has been superseded by the advances and discoveries of later periods, and Brian Vickers notes that in the Hermeticism of the Renaissance, “one is confronted with a tradition in which nothing has been abandoned, all ideas have been absorbed into ever more comprehensive syntheses”.

Nineteenth-century European “occultism”, while rejecting Enlightenment rationalism, followed in the wake of earlier freemasonry and a surge of interest in Egyptian religion and theurgy, focusing on the rejected knowledge of the ancient world and the Renaissance. The Theosophical Society was eclectic in the influences and religious traditions it used, while the Golden Dawn
George Pollexfen's notes on The World (tarot trump 21)
is arguably the zenith of such syncretic thinking, bringing Christian Rosicrucianism together with a panoply of elements including Jewish Cabala, Egyptian religion, Indian practices, Neoplatonism, sacred geometry, alchemy, various divinatory techniques, and the writings of John Dee. The process of synthesis is made easier by the frame of mind through which “the occult imposed traditional thought categories onto the world and read nature in the light of them,” so that observed phenomena are read through the construct, rather than the construct being derived from observed phenomena. They work through correspondences that are simple in principle and complex in application, where number and “signature” are the keys to “matching” categories.

Yeats’s thought deliberately appeals to the authorities and modes of pre-scientific thought familiar to such fellow students, particularly the spiritual or mystical strain of metaphysical philosophy that can be traced back to Pythagoras and the Plato of Timaeus and the Myth of Er. Plato’s followers such as Plotinus and Porphyry developed this Platonism to the verge of religion, and Iamblichus and Proclus incorporated elements of Egyptian religious thought, including the Corpus Hermeticum, and the Chaldean Oracles. Along with strains of Gnosticism, Cabalism, the Christian thought of pseudo-Dionysius the Areopagite, these strands all feed into what was relabelled “Hermeticism” with the renewed awareness of the Corpus Hermeticum through Marsilio Ficino’s translation.

The question is whether a modern thinker can deliberately eschew the intervening centuries and write in the form and mindset of previous age. Yet Yeats sees himself as jumping ahead and returning to the order that existed before Descartes and the Scientific Revolution.

A series of drafts of A Vision opened with the observation that “it resembles nothing of philosophy from the time of Descartes but much that is ancient”.[11] The Cartesian or scientific revolution comes at a particular point in the cycles that his system envisages, starting a period dominated by what he terms the primary impulse, including “All our scientific, democratic, fact-accumulating, heterogeneous civilization belongs to the outward gyre” (VP 825, CW1 650), but one that lasts only five hundred years or so from the Renaissance, giving way to a revivified form of the ancient in the imminent new millennium, “the mummy wheat” of the new antithetical. In “The Gyres”, he looks to “Old Rocky Face”, the Delphic Oracle of ancient Greece to validate the return to the old that is also new, so that “all things run / On that unfashionable gyre again” (VP 565, CW1 299).

[1] Irish Times, 10 June 2015 Our favourite W. B. Yeats poem: John Banville and Colm Tóibín on 'Byzantium'.

[2] Simon & Schuster, The Collected Works of W.B. Yeats Volume XIII: A Vision The Original 1925 Version, 2013.

[3] In Yeats’s usage, “occult” or “occultism/occultist” usually refers to specifically to the Theosophical Society or similar concerns. See, for example, Mem 281–82; his letter to Joseph Hone, 22 June [1915], CLInteLex 2681; or a note for Augusta Gregory’s Visions and Beliefs in the West of Ireland, CW5 270. The OED gives the first citations for “occultism” and “occultist” as 1881, from the Theosophist A. P. Sinnett’s The Occult World.

[4] Except for matters of the Theosophical Society’s Esoteric Section (Mem 281–82), Yeats’s usage of “esoteric” tends not to refer more commonly to the limited or rarefied appeal of certain things. See, for example, letter to Ruth Pollexfen Lane-Poole, 2 September 1914, CLInteLex 2509; “A Canonical Book” (1903) UP2 301.

[5] James Webb, The Flight from Reason (London: Macdonald, 1971), in the USA, The Occult Underground (La Salle, IL: Open Court, 1974), 191–92. The idea has been widely taken up, see, for example, W. J. Hanegraaff, Esotericism and the Academy: Rejected Knowledge in Western Culture (Cambridge: Cambridge University Press, 2012).

[6] James Webb, The Occult Establishment (La Salle, IL: Open Court, 1976), 10.

[7] Brian Vickers, “On the Function of Analogy in the Occult,” in ed. I. Merkel and A. G. Debus, Hermeticism and the Renaissance: Intellectual History and the Occult in Early Modern Europe, Part 3 (Washington, DC: Folger Shakespear Library, 1988), 266.

[8] Though "occult" meaning hidden or mysterious exists earlier, the Oxford English Dictionary gives the first citations for “occultism” and “occultist” as 1881, from the Theosophist A. P. Sinnett’s The Occult World.

[9] See Joscelyn Godwin, The Theosophical Enlightenment (Albany, NY: SUNY Press, 1994).

[10] Brian Vickers, “On the Function of Analogy in the Occult,” 266.

Monday, September 24, 2018

A Reader's Guide to Yeats's "A Vision"

One of the reasons for the dormancy of this blog over the last few years has been my focus on writing a book on A Vision. This is not a crowded field and relatively straightforward introduction to A Vision is one of the gaps in Yeats Studies, so I hope that A Reader's Guide to Yeats's "A Vision" will be a genuine aid to readers new and old.

The book will be published by Clemson University Press, in association with Liverpool University Press in the UK, and should be out at the beginning of 2019.

The cover art is by Jaff Seijas, whose Vision-inspired art I've featured on the blog here before.

It's divided into four sections of three or four chapters each (plus a coda).

1 Overview: The Book of A Vision
2 Genesis: Making and Remaking A Vision
3 Background: Antecedents and Assumptions
4 Presentation: Gyres and Geometry
5 Spirits: Determinism and Free Will
6 Being: Human and Divine
7 The Faculties: Action and Pursuit
8 The Principles: Reality and Value
9 The Daimon: Opposition and Essence
10 The Divine: One and Many
11 The Circles of Life: Wheels and Rebirth
12 The Twenty-Eight Incarnations: Lives and Phases
13 After Life: Understanding and Preparation
14 History: Cycles and Influx
15 Reframing A Vision
Appendix: People in Phases

Background starts off looking at the writing and printing history of A Vision's two editions; then the automatic writing and the questions that raises; and then examines the ideas and baggage that the Yeatses brought to the enterprise and what belief meant to Yeats.

Foundations outlines the fundamental framework of A Vision in its duality, the gyre and the wheel; it continues with a consideration of what Yeats saw as the nature of spiritual and human existence, then looks at the human beings and their relationship to the divine and Unity of Being.

Structure devotes a chapter each to the three major elements in Yeats's anatomy of the human being: Faculties, Principles, and Daimon, and then moves on to the divine, including the Thirteenth Cone.

Process then looks at these elements in action, the cycles of individual lives and recurrent lives, the pageant of the incarnations represented by the phases of the moon, the process of the afterlife, and the processes of historical cycles.

The epilogue is a brief assessment of A Vision's significance, its implications, and its meaning for Yeats. An appendix gives a table summarizing the phases that the Yeatses assign to various individuals in A Vision and the automatic script.

The book is quite a bit thinner than the draft that I finished back in May, having lost almost half of its material to reach the agreed length and to be useful as a guide—it might have been rather daunting and less usable. The good news is that I hope to work up some of the bits that I cut to become entries for this blog. The better news is that I was allowed 40 figures and illustrations. Bad news is that it will be almost as hideously priced as A Vision was when it came out in 1925. A Vision A was priced at 3 guineas (this was the fancy way of pricing a privately produced edition, meaning 3 pounds and 3 shillings, just over $15 at that date); this was roughly equivalent to £180 today, around $240. Incidentally, the 1937 edition was 15 shillings, roughly a quarter of the price. So this could be seen as a bargain at half that price (at current exchange the UK edition is looking cheaper). It will, however, be accessible through universities and libraries, and at least partially through search online, and I hope that eventually it will reach a cheaper format.

I shall give updates when I have them, but will start with some new blog entries from unused material.