Yeats and the Stars 3

 Yeats and the Stars 1; Yeats and the Stars 2.

 

The sky does not change, but the images projected by the human mind are subject to infinite variation. Even star groups or asterisms that we might think unavoidable to any viewer, like the form of Orion, prove to be surprisingly flexible across cultures (the curious might find Figures in the Sky a useful start). 

Yet these constellations are also a form of symbolic language, passed down through each culture across centuries, with the same resilience shown by folk motifs and myths. Many of the constellations we learn today have hardly changed since the time of the ancient Babylonians and Greeks, as passed on through Arab astronomy, with some of the  “gaps" filled in at later dates, especially at the dawn of the telescopic age.

The Northern Heavens from Andreas Cellarius's Celestial Atlas (1660), centred on the Ecliptic Pole, with a rainbow dragon, menagerie of beasts, and human figures.

The heavens are a symbol of what is beyond the reach of humanity, “inviolate and fixed", yet onto them we project a bestiary of lions, bears, dogs, unicorns, swans, eagles, and dragons; there are anonymous centaurs, a charioteer, and herdsman; and named figures, such as Hercules, Orion, Pegasus, Perseus, Andromeda, and her parents, as well as the Argo. We also have sextant, air pump, telescope, and microscope. If the first ones require some effort of imagination to  “see" them, the last ones are imposed with very little relation to the fundamental stars.

Cetus, the Sea Monster, from Sidney Hall's Urania's Mirror (1824), along with more recent stellar inventions: a chemical furnace, a machine for generating static electricity, and sculptor's apparatus. The harp or psaltery and the electric machine are not recognized in modern astronomy.

Ezra Pound recalls Yeats in Paris in a well-known passage in the Pisan Cantos, where he writes of:

… Uncle William dawdling around Notre Dame
in search of whatever
                Paused to admire the symbol
with Notre Dame standing inside it….

(LXXXIII/528)

Readers have tended to take this as a form of gentle ribbing of the older poet, but Pound, who was steeped in the lore of the Middle Ages, was also no doubt aware that the cathedral had been created as a great symbol of the universe, both in its general construction and form, and in the details of its carvings and iconography. The cathedral unites the human and the cosmic, bringing together religious vision and human craftsmanship, relating each to the other. The cathedral’s vaulting echoes the vault of heaven—or vice versa: the symbol is within the cathedral, and the cathedral is a realization of the symbol.

The Western Rose Window at the Cathedral of Notre Dame in Paris.
The zodiac is shown in the lower half of the middle circle of figures (going from Aquarius, just below 9 o'clock, anticlockwise round to Capricorn, just below 3 o'clock); twelve vices are in the upper half.
The outer ring has the months' labours in the lower half, and virtues opposing the vices in the upper half.

The dictum taken from the Emerald Tablet “as above, so below; as below, so above" is often applied to astrology, with the human microcosm a mirror of the macrocosm. Both William and George Yeats were of course regular users of astrology, following the celestial influences in human affairs, at both a personal and a collective level. At a personal level they read the way that the “outrageous stars incline / By opposition, square and trine” (“In Memory of Major Robert Gregory"). Yeats, however, agreed with Plotinus (“Are the Stars Causes?" Enneads II:3) that the cosmic cycles were signs not causes, writing in Rapallo Notebook A, “Astrology does not rely as is generally supposed upon the devine influence of stars but upon that of certain mathematic relation between stars & a point mathematically ascertained" (23r). 

Yet astrology seldom figures in the poetry. Indeed, surprisingly, references to the “dishevelled wandering stars" (“Who Goes with Fergus?") and are very few and tend to lean more on general symbolism—Saturnian melancholy in “Under Saturn" or the “Conjunctions" of Mars and Venus or Jupiter and Saturn (see “Conjunctions II") based on A Vision (see “Conjunctions")—than on any astrological construction or insight.

At a collective level there were the great astronomical cycles that informed long periods of time from decades and centuries to millennia and longer. The Yeatses’ instructors follow the nineteenth-century astrologers in taking the so-called Great Year as the one marked out by the Precession of the Equinoxes. And the coincidence between the two is made clear in A Vision itself, possibly more clearly in the 1925 version:

Certain English and German scholars associate the changes of ancient mythology with the retreat of the Sun through the Zodiacal Signs, and attribute to his passage at the Vernal Equinox through Gemini such double Gods and Worthies as Castor and Pollux, Adam and Eve, Cain and Abel; and all Ox-like Deities to his passage through Taurus and so on, and discover in the Zodiac a history of the human soul through life and death, sin and salvation, and consider that Babylonian and other Antiquity meant the Constellations when it spoke of the Book of Life, the zodiacal constituting the text and those to North and South the commentary.

A Vision A, 150; Collected Works vol. 13, 122

Emmeline Plunket, Ancient Calendars and Constellations (1903).
At the time of the spring or vernal equinox, the sun's position relative to the stars has shifted backwards (here rightwards) through the zodiac from Gemini, the Twins, to Taurus, the Bull, to Aries, the Ram, and then to Pisces, the Fishes. Its passage through each sign takes roughly 2,000 years.

When the Sun at the vernal equinox passed from Taurus into Aries, Eternal Man had his Will and Mask at Phase 15 and Phase 1 respectively, and so at Lunar South and North, and his Creative Mind and his Body of Fate at Solar East and West.

A Vision A, 143–44; CW13 116

 

Conjunctions II

Venus and Mars in conjunction over Lake Superior, October 2017 (Bob King)

After Yeats has established the basis of the Aries-Taurus conjunction of Mars-Venus and the Aquarius-Pisces conjunction of Saturn-Jupiter, he goes on to elaborate a complex series of ideas based on this pair of pairings. The associations might recall at best Hermann Hesse's ultra-cerebral Glass Bead Game or at worst the ragbag eclecticism and strained connections that are not uncommon in occult tracts, where analogies rapidly become equivalents and substitutes.

Pompeian fresco of Mars and Venus

Venus and Mars

The planets have many possible associations, ranging from the mythological to the psychological, and their "conjunctions … express so many things", but Yeats singles out for Venus-Mars, "the outward-looking mind, love and its lure", and for Jupiter-Saturn, "introspective knowledge of the mind's self-begotten unity, an intellectual excitement" (AVB 207), though which is which is not spelt out and it is only the word "love", clearly linked to Venus, as well as more general astrological symbolism from elsewhere that makes the identification clear.

In a poem written "in the first excitement of discovery I compared one to the Sphinx and one to Buddha"— the link to the conjunctions would not necessarily be very clear had Yeats not added that the Buddha should have been substituted for Christ, as "Buddha was a Jupiter-Saturn influence" (AVB 207), i.e. the Buddha in the poem represents a Venus-Mars influence, even though it shouldn't. Many years later on in the pair of couplets titled "Conjunctions," Yeats made the identification of Christ and Venus-Mars explicit.

The sword's a cross; thereon He died:
On breast of Mars the goddess sighed.
                                (VP 562)

The Sword-Cross of Santiago

Astrologically Venus and Mars are very much the principles of love and sex; harmony and aggression; comfort and adventure; union and separation. Yet they work at almost exactly the same personal level and are a very much a polar and complementary pair. The signs ruled by Venus are Taurus and Libra, opposite which stand the signs ruled by Mars, Scorpio and Aries. As mythological figures they are known for their adulterous affair, since Aphrodite-Venus was married to the smith god Hephaistos-Vulcan, who famously trapped her in the act with Ares-Mars under a net.

Mars and Venus entrapped by Vulcan, Antonio Bellucci, ca. 1700.

Jupiter and Saturn

Saturn devouring one of Jupiter's siblings
Peter Paul Rubens (1636)

The symbolism of Saturn and Jupiter is more complicated. In their Greek forms as Kronos and Zeus, though they are father and son, there is really only one story that connects them. Forewarned that he would be overthrown by his own child, Kronos (Saturn) ate his children, until his wife, Rhea, replaced the last one, Zeus (Jupiter), with a stone. Zeus grew to maturity and led a revolt against his father, dethroning him as foretold.

The planets are slow moving and astrologically work at a similar, more impersonal level than Mars or Venus, and are sometimes referred to as the "social" planets. Their domiciles are grouped together in the wintery signs, Saturn's Capricorn and Aquarius bracketed by Jupiter's Sagittarius and Pisces. Jupiter's influence is expansive and optimistic, while Saturn's is restrictive and  melancholy. Rudolf Steiner posited two versions of Satan, the tempter, Lucifer the Jovian over-reacher on the one hand, and, the denier, Ahriman the Saturnine mechanistic desiccator on the other. However, just as for Steiner the Christ principle balances the two forces, so here the balance of the two, exploration and concentration, offers "introspective knowledge of the mind's self-begotten unity".

Yeats symbolizes them by the Sphinx in "The Double Vision of Michael Robartes", which represents the triumph of intellect:

One lashed her tail; her eyes lit by the moon
Gazed upon all things known, all things unknown,
In triumph of intellect
With motionless head erect.    (VP 383)

The focus on knowing, recalls the pairing of the Knower and the Known, Creative Mind and Body of Fate. And similarly Yeats characterizes the antithetical revelation that starts "under Saturn-Jupiter" as "the vivification of old intellect" (AVB 208). This revivification of the old is symbolized cryptically by wheat from the pharaoh's tombs germinating (a popular nineteenth-century myth), in the companion couplet to the one quoted above:

If Jupiter and Saturn meet,
What a crop of mummy wheat! 
                  (VP 562)

The second vision of "The Double Vision of Michael Robartes" is an image of the Full Moon, with a dead spirit dancing between the Sphinx and the Buddha (who should be Christ). She is dead because the Full Moon is too pure to be alive in mortal and on either side are the two conjunctions: Aries-Taurus, Mars-Venus, or Christ (the Buddha in the poem), and Aquarius-Pisces, Saturn-Jupiter, or the Sphinx, which "stand, so to speak, like heraldic supporters guarding the mystery of the fifteenth phase" (AVB 207) (see McDowell, " 'Heraldic Supporters': Minor Symbolism and the Integrity of A Vision", YA10 [1993]).

These conjunctions also preside over the beginning of each revelation or religious dispensation (for a complication about the layout of the signs, see "Conjunctions I"). As the solar Creative Mind moves away from the Full Moon is moves from Aries into Taurus, hence the conjunction of Mars and Venus presiding over the first stages of this cycle. As this cycle draws to an end, Creative Mind is moving from Aquarius into the sign of Pisces, the conjunction of Saturn and Jupiter. And since the "influx that dominates a primary dispensation comes a little after the start of the dispensation itself" when Will is at Phase 16, a primary dispensation is ushered in by Mars-Venus; and "that which dominates an antithetical dispensation [comes] a considerable time before the close of the preceding primary dispensation" it comes under the influence of Saturn and Jupiter (AVB 208).

Sculpture of Zeus striking Kronos, Temple of Artemis, Corfu

In a further complication of symbolism, the Yeatses' two children were seen to embody each of them one of these conjunctions, which featured at the moment of the their birth. As Yeats wrote to Olivia Shakespear on 25 August 1934:

I was told you may remember that my two children would be Mars conjunction Venus, Saturn conjunction Jupiter respectively; & so they were — Anne the Mars Venus personality. Then I was told that they would develop so that I could study in them the alter­nating dispensations, the Christian or objective, then the Antithetical or subjective. The Christian is the Mars Venus. It is democratic. The Jupiter Saturn civilization is born free among the most cultivated, out of tradition, out of rule.

Should Jupiter and Saturn meet
What a crop of mummy wheat!

The sword's a cross; thereon He died.
On breast of Mars the goddess sighed.

I wrote those lines because some days ago George said it is very strange that whereas Michael is always thinking about life Anne always thinks of death. Then I remembered that the children were the two dispensations. Anne collects skeletons.... When she grows up she will either have some passionate love affair or have some close friend that has — the old association of love and death. (CL InteLex 6087; cf. L 827-28)

Connected with this was the possible belief that Michael was in some way connected with the avatar of the new antithetical age, but that is a story for another day. 

Jupiter and Saturn are approaching their conjunction on 21 December 2020

 

W. B. Yeats tells Stephen Spender of the coming times

It seems slightly incredible that Stephen Spender should have decided to write an autobiography when he was just 40, but he had seen so much and met so many people that there was already plenty to fill it. Among his encounters he recalled a meeting with W. B. Yeats at Lady Ottoline Morrell's London house in 1934.

Yeats, at the age of seventy, had something of the appearance of an overgrown art student, with shaggy, hanging head and a dazed, grey, blind gaze. On the occasion of our first meeting he look at me fixedly and said: "What, young man, do you think of the Sayers?" This took me aback and I murmured that I had not read any. "The Sayers," he repeated, "the Sayers." Lady Ottoline then explained that he was speaking of a certain troupe of speakers who recited poetry in chorus. I knew even less of these than of detective fiction and had to admit so. Lady Ottoline, who had arranged for us to have tea with very few people present, saw that I was a failure. She left the room and telephoned Virginia Woolf to get into a taxi and come round from Tavistock Square at once. Virginia, highly amused, arrived a few minutes later. (World Within World, 179)

If you have to be rescued from WBY, being rescued by Virginia Woolf isn't too bad. (Knowing WBY's taste for detective fiction as distracting entertainment, my first thought was also that Yeats was referring rather archly to Dorothy L. Sayers novels or to her translation of Dante, and I have been unable to discover anything else about these choric reciters.)

Yeats apparently went on to explain to Woolf "that her novel, The Waves, expressed in fiction the idea of pulsations of energy throughout the universe which was common to the modern theories of physicists and to recent discoveries in psychic research." Though Spender himself was out of sympathy with Yeats, particularly his philosophical and esoteric interests, he was interested enough to try to record what Yeats had said. Later on:

he spoke about the political views in the writing of my friends and myself, contrasting it with his own interest in spiritualism. "We are entering," he said, "the political era, dominated by considerations of political necessity which belong to your people. That will be bad enough, but there will be worse to come. For after that there will be an age dominated by psychologists, which will be based on the complete understanding by everyone of all his own motives at every stage of his life. After that, there will be the worst age of all: the age of our people, the spiritualists. That will be a time when the separation of the living from the dead, and the dead from the living, will be completely broken down, and the world of the living will be in full communication with that of the dead.

          Yeats expressed these ideas in a half-prophetic, half-humorous vein, and I may have distorted them in recording them. But certainly he spoke of the three ages to come, of the political, the psychological, and the spiritual: and he affirmed that the last would be "the worst". It is difficult to understand how to take such a prophecy. What is clear though, is that he saw spiritualism as a revolutionary social force as important in its power to influence the world, as politics, psychology, or science. (World Within World, 180–81)

There probably is some distortion or at least confusion over spirituality and spiritualism, but it is clear that Yeats was telling Spender about the last gyres of the current age. In general he breaks a millennium down into twelve gyres, corresponding to the cardinal phases and eight triads of phases. He had speculated about those of the near future at the end of "Dove or Swan" in the 1925 version of A Vision, a section that was cut from the later version. The "political era" that he spoke of to Spender is the culmination of the eleventh gyre, the "moral" triad of phases (23, 24, 25), which he saw already starting in 1925, when he discovered "the first phase—Phase 23—of the last quarter in the certain friends of mine, and in writers, poets and sculptors admired by these friends" (AVA 210). The zeitgeist he discerned in the work and attitudes of Pound, Eliot, Joyce and Pirandello involved engagement with the present moment of actuality and being "absorbed in some technical research to the entire exclusion of the personal dream" (AVA 211), as primary fact comes to dominate the inner truth. It does not exclude imagination but  eliminates the element of inventive fantasy. He then foresaw Phase 24 as offering "peace—perhaps by some generally accepted political or religious action, perhaps by some more profound generalisation" (AVA 212), while Phase 25 might "give new motives for obedience" or "an enthusiastic acceptance of the general will conceived of as a present energy" (AVA 213), which seems to be what he perceived in the politically engaged attitude of Spender and his contemporaries.

The ages of psychology and spirit seem to fall under the twelfth gyre, the "spiritual" triad of phases (26, 27, 28). Except that Phase 26 is spiritual in a strange way, so that psychological might be an appropriate term for the phase described as the Hunchback. One of the dominant characteristics in the description of the phase is the analysis of action and motive, and the way that these are isolated from their contexts:

His own past actions also he must judge as isolated and each in relation to its source; and this source, experienced not as love but as knowledge, will be present in his mind as a terrible unflinching judgment. Hitherto he could say to primary man, “Am I as good as So-and-so?” and when still antithetical he could say, “After all I have not failed in my good intentions taken as a whole”; he could pardon himself; but how pardon where every action is judged alone and no good action can turn judgment from the evil action by its side? He stands in the presence of a terrible blinding light, and would, were that possible, be born as worm or mole. (AVA 112; AVB 179)

This phase of psychology is however related to the psycho-spiritual, as A Vision B clarifies in a paragraph added to the treatment of Phase 26: "From Phase 22 to Phase 25, man is in contact with what is called the physical primary, or physical objective; from Phase 26 and Phase 4, the primary is spiritual. . . . Spiritual, in this connection, may be understood as a reality known by analogy alone. How can we know what depends only on the self? In the first and in the last crescents lunar nature is but a thin veil; the eye is fixed upon the sun and dazzles" (AVB 179). This may be what lies behind the idea that the spiritual gyre will be the worst: lunar nature, the basis of civil life, is overwhelmed by the solar, spiritual side, which is in some ways inimical to life. The Faculties are what produces history, and in human lives these are the phases where "the Faculties 'wear thin' " and "the Principles . . . shine through" (AVB 89).

In Spender's account, Yeats seems to have imagined that the worldly counterpart would be a thinning of the boundaries between the world of the living and the world of those outside incarnate life (whom we commonly call "the dead"). Although this seepage between worlds sounds like the scenario of a new Hollywood film or the latest TV pilot, it is difficult to see why Yeats of all people would be so negative about communication with the dead, having pursued such communication in séances, automatic writing, and "sleeps". It is also hard to discern in what senses it would be the worst, except that it must soon pass into the final phase of the wheel, that of the Fool, where control is gone.

Then with the last gyre must come a desire to be ruled or rather, seeing that desire is all but dead, an adoration of force spiritual or physical, and society as mechanical force be complete at last.

Constrained, arraigned, baffled, bent and unbent
    By those wire-jointed jaws and limbs of wood
Themselves obedient,
    Knowing not evil or good.  (AVA 213)

This vision of the twelfth gyre was written ten years before the meeting with Spender and Yeats had put a lot of thought into the coming years, drafting a number of versions before deciding that he could not see clearly enough. The prophecy of mechanical society, with the lines from "The Double Vision of Michael Robartes" describing Phase 1, seems to foresee a totalitarian world. This in turn seems to be at odds with the age of either spiritualism or spirituality he spoke of in 1934, but may not be so opposed as it seems at first. Halfway between the two, in 1929, Yeats had written:

Europe is changing its philosophy. Some four years ago the Russian Government silenced the mechanists because social dialectic is made impossible if matters is trundled about by some limited force. Certain typical books—Ulysses, Mrs. Virginia Woolf's Waves, Mr. Ezra Pound's Draft of XXX Cantos—suggest a philosophy like that of the Samkara school of ancient India, mental and physical objects alike material, a deluge of experience breaking over us and within us, melting limits whether of line or tint, man no hard bright mirror dawdling by the dry sticks of a hedge, but a swimmer, or rather the waves themselves. In this new literature announced with much else by Balzac in Le Chef-d'oeuvre inconnu, as in that which it superseded, man in himself is nothing.
          ("Introduction to Fighting the Waves": Wheels and Butterflies 73; Explorations 373; Variorum Plays 568–69)

Perhaps the equality of mental and physical objects in experience, and humanity as both "the waves themselves" and "nothing" in itself, points to a loss of identity and individuality that truly would be the worst imaginable world for the antithetical lyric poet who values the sincerity of his personal truth and experience above the truth of fact and shared experience.

This might even offer a clue to the otherwise baffling and gnomic comments that Spender recorded:

Of all that Yeats said, I remembered most his words about Shakespeare. "In the end," he said, "Shakespeare's mind is terrible." When I asked him to expand this, he said, "The final reality of existence in Shakespeare's poetry is of a terrible kind." (World Within World, 181)

Yeats and European Unions

I'm not sure how much it matters or should matter to what extent the symbolism of A Vision describes a recognizable reality. If it were totally alien to what we experience, could it still have any validity? Does its claim to be "An Explanation of Life" require testing?

Much of the fascination of A Vision as with any symbolic system lies in the internal coherence, but without some reference to externals it would quickly lose our interest. A Vision's system does of course itself refer outwards to the lives of the men and women who people the incarnations represented by the phases of the moon, and to the great gyres that it claims to discern in the sweep of history.

In doing so Yeats does not make matters too difficult for himself, since he is free to assign people as he wishes to the phases (there is no external mechanism allocating them to a particular phase, as in astrology), and his interpretation of history is sketchy enough and broad enough to select only those few strands that actually fit the desired lineaments. Though his treatment of the historical gyres largely confines itself to Western European history, it is, as G. R. S. Mead noted, remarkable in omitting such major elements as the Reformation, the voyages of discovery and their consequences. Even so, the ideas raised and suggested are often provocative and can make the reader see certain matters anew.

The same is true of the forecasts that Yeats made (see YeatsVision.com), though he pruned the more detailed view of the future after the first publication, giving only the most general view of the coming years in A Vision B. One of those vague lines does, however, haunt me in a nagging way:

What discords will drive Europe to that artificial unity—only dry or drying sticks can be tied into a bundle—which is the decadence of every civilisation? (AVB 301–2)

To what extent was he looking forward to the European Union? and does it constitute as he saw it some "vast plaster Herculean image, final primary thought" (AVA 214) that he referred to in his more detailed view of the future in A Vision A? Surely in terms of his own theory, the civilization is far from decadent if we take the 2000-year measures that are the basis of his views. Yet, if the primary civilization that was enabled by Christianity and monotheistic religion in general started in 1000 C.E. and we find ourselves at the peak of the political primary, then has democracy reached its limits?

In some ways the image he uses is a false one—green sticks can be bound quite well into a bundle as long as they are straight enough and dry twigs resist being woven into a basket or any other unitary shape. However, at its heart probably lies the image of the bundle of sticks of the Roman fasces, a symbol of authority from ancient Rome that has had a wide range of uses in modern civic symbolism.

Most of us probably think first of Mussolini's adoption of the symbol and use of the term "fascism", and it is certain that Yeats would have had this image in mind. But the emblem appears in many places worldwide, including in many American insignia.  The chair where Abraham Lincoln sits in the National Mall's Lincoln Memorial has fasces at its front, as a symbol of the Union.

The final section of A Vision B is dated "1934–36", so when Yeats envisaged Europe in artificial unity in the Thirties, did he see some possibility of fascist union? of enforced union? of something like the Union of the United States? Whatever he imagined, he would no doubt recognize the European Union that does exist as a fulfilment of his thought.

Within A Vision "discords" are both the technical relationship between certain Faculties and the more general opposite to concord, the antithetical strain of the Tinctures. The word also carries its usual meaning of conflict and strife and, though it would be crass understatement to call the Second World War discord,  it is perhaps that paradox that is the greatest foresight in Yeats's formulation. The original core of the European Union, the six-member Coal and Steel Community of France, West Germany, Italy, Belgium, Netherlands and Luxembourg arose in part from a desire to make war and conflict impossible, hence the post-war discords give birth to unity.

Artificial? That may be the real crux. Yeats all too often seems to glorify war and conflict in his writing, viewing them as vital and vivifying:

Much of what I say is Heraclitus.  "Homer was wrong in saying 'Would that strife might perish from among gods and men'. He did not see that he was praying for the destruction of the universe; for if his prayer was heard all things would pass away". And again "War is the father of all; some he has made gods ans some men; some bound and some free".

In his antithetical fervour, it sometimes seems that he would view the bloody break-up of Yugoslavia with more satisfaction than the peaceful union of European countries. But to call such union artificial simply because it represents the primary trend seems unnecessarily partisan. Doomed in the long term, perhaps, but not artificial.

In the broader cycle, the current civilization with span of some two thousand years is only reaching its midpoint. But this is analogous to "classical civilization" from 1000 B.C.E. to 1000 C.E., within which many empires rose and fell and many movements flourished and withered from the rise of Mycenean culture to the fading of Byzantium — few living through it would  have seen it as a continuous whole. The historical cycles dealt with in "Dove or Swan" are rather shorter, lasting only a thousand years or so, and in this context therefore the civilization that arose around 1000 C.E. has already reached a maximum scope — the widening gyre of "The Second Coming" that has reached its point of collapse.

The Ten of any suit has reached its limit and the only way onward is to return the way it came, dwindling towards the Nine, or the start of a new suit, the Ace. In Yeats's system, both things happen: The Ace of the new gyre arises, while the gyre of the old retreats back towards its source.

It is perhaps easy at the moment to say that European civilization is in decadence or is on the point of collapse — certainly quite a few people are doing it. Yeats was right to point out that there is no infinite progress, and our current world is more primary than in his day, more democratic, more interconnected, and often putting quantity of information before depth of thought. In many ways, Yeats's vague vision of the future has already been realized. Yeats himself evades the question of what follows next.

Something of what I have said it must be, the myth declares... what else it must be no man can say, for always at the critical moment the Thirteenth Cone, the sphere, the unique intervenes.

                              Somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
                                                            (AVB 263)

It may not be connected to reality, but it sure as hell feels as if it is. The symbols remain uncertain perhaps, but they speak to us and we discern the outlines of our world.