William Butler Yeats and the Easter 1916 Rising: A Complex Relationship

William Butler Yeats (W.B. Yeats) played a pivotal yet complex role in the Easter 1916 Rising, an event that significantly reshaped Ireland's political landscape.

The Fighting and Planning Perspective

Yeats was not directly involved in the Easter 1916 Rising itself or its planning. His connection to the individuals involved was multifaceted. He developed a deep admiration for Thomas MacDonagh, a playwright who had a play produced by the Abbey Theatre in 1908. Almost universally loved, MacDonagh's cultural and personal life was subsequently influenced by his friendship with Yeats' muse, Maud Gonne. His marriage to Gonne was brief, lasting only less than two years, ending due to MacBride allegedly exposing himself to Gonne's ten-year-old daughter, Iseult.

Complex Feelings Towards Patrick Pearse

Yeats held more limited admiration for Patrick Pearse. Pearse's vision of cultural nationalism heavily emphasized the Irish language, which Yeats firmly believed was not worth serious revival. Yeats asserted that Irish writers needed to work in English to achieve success and recognition. His sympathy for the rebels' cause contrasted with his own long-standing dedication to the Irish nationalist movement since the late 19th century. An intriguing connection was John MacBride, a rebel leader married to Yeats' muse, Maud Gonne, whose treatment of her was reportedly less than respectful.

Uncertainty and Guilt

When the Rising occurred, Yeats was staying with the artist William Rothenstein in Gloucestershire. His initial reaction was surprise, but as he witnessed the rising's suppression and the impending trials of its leaders, he felt a sense of guilt for allegedly inspiring it. This sentiment is reflected in his 1938 poem 'The Man and the Echo,' which includes the lines, 'Did that play of mine send out / Certain men the English shot?' Yeats's feelings of guilt were further compounded by the poet's recognition of the transformation of the rebels from individuals to historical figures.

Easter 1916 and Yeats's Poetic Response

Yeats's response to the Easter 1916 Rising was profound and transformative. His 1916 poem 'Easter, 1916' is one of his most celebrated works. In the poem, Yeats reflects on the people whom he had often underappreciated, realizing their significance in history. The poem captures the essence of their transformation and the impact of the Rising. It begins:

First I have met them at close of day
Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses.

Yeats's poem is a profound meditation on the change wrought by the Rising, expressing the idea that 'A terrible beauty is born.' The poet also mentioned specific figures like Constance Markievicz, who was included in the Rising despite being initially seen as a woman of 'ignorant good will.'

Conclusion: A Terrible Beauty is Born

Yeats's poetic response to the Easter 1916 Rising highlights the complexity of his relationship with the political events of his time. While he initially viewed the Rising with surprise and sympathy, his poem ultimately acknowledges the profound and irreversible change it brought about. The Easter 1916 Rising and its aftermath marked a significant turning point in Irish history, a 'terrible beauty' born from the turmoil of the revolutionary period.

Further Reading

If you're interested in delving deeper into the intricate relationship between Yeats and the Easter 1916 Rising, consider exploring:

The Yeats family archives and correspondence Biographies of Yeats and Patrick Pearse The poetry collections of W.B. Yeats