# Easter, 1916 > Mediated Wiki article. Canonical URL: https://mediated.wiki/source/Easter%2C_1916 > Markdown URL: https://mediated.wiki/source/Easter%2C_1916.md > Source: https://en.wikipedia.org/wiki/Easter%2C_1916 > Source revision: 1344428452 > License: Creative Commons Attribution-ShareAlike 4.0 International (https://creativecommons.org/licenses/by-sa/4.0/) 1916 poem by W. B. Yeats The ruined [General Post Office](/source/General_Post_Office%2C_Dublin) after the Easter Rising, 1916. ***Easter, 1916*** is a poem by [W. B. Yeats](/source/W._B._Yeats) describing the poet's torn emotions regarding the events of the [Easter Rising](/source/Easter_Rising) staged in Ireland against [British rule](/source/British_rule_in_Ireland) on [Easter](/source/Easter) Monday, April 24, 1916. The rebellion was unsuccessful, and sixteen of the [Irish republican](/source/Irish_republican) leaders involved were executed. The poem was written between May and September 1916, with an initial issue of 25 copies which were printed privately. It was first published in 1921 in the collection *[Michael Robartes and the Dancer](/source/Michael_Robartes_and_the_Dancer)*. ## Background Even though a committed nationalist, Yeats usually rejected violence as a means to secure Irish independence, and as a result had strained relations with some of the figures who eventually led the uprising.[1] The sudden and abrupt execution of the leaders of the revolutionaries, however, was as much a shock to Yeats as it was to ordinary Irish people at the time, who did not expect the events to take such a bad turn so soon. Yeats was working through his feelings about the revolutionary movement in this poem, and the insistent refrain that "a terrible beauty is born" turned out to be prescient, as the execution of the leaders of the Easter Rising had the opposite effect to that intended. The killings led to a reinvigoration of the Irish Republican movement rather than its demise. ## Composition The initial social and ideological distance between Yeats and some of the revolutionary figures is portrayed in the poem when, in the first stanza, the poem's narrator admits to having exchanged only "polite meaningless words" (6) with the revolutionaries prior to the uprising, and had even indulged in "a mocking tale or gibe" (10) about their political ambitions. However, this attitude changes with the refrain at the end of the stanza, when Yeats moves from a feeling of separation between the narrator and the revolutionaries, to a mood of distinct unity, by including all subjects of the poem in the last line with reference to the utter change that happened when the revolutionary leaders were executed: "All changed, changed utterly: A terrible beauty is born." (15–16) These last lines of the stanza have rhythmic similarities to the popular ballads of the era as well as syntactic echoes of [William Blake](/source/William_Blake).[2] In the second stanza, the narrator proceeds to describe in greater detail the key figures involved in the Easter uprising, alluding to them without actually listing names. The female revolutionary described at the opening of the stanza is [Countess Markievicz](/source/Constance_Markievicz), who was well-known to Yeats and a long-time friend. The man who "kept a school/ And rode our winged horse" is a reference to [Patrick Pearse](/source/Patrick_Pearse), and the lines about Pearse's "helper and friend" allude to [Thomas MacDonagh](/source/Thomas_MacDonagh). In Yeats's description of the three, his torn feelings about the Easter uprising are most keenly communicated. He contrasts the "shrill" voice of Countess Markievicz as a revolutionary, with his remembrance of her incomparably "sweet" voice when she was a young woman; and he contrasts the haughty public persona of Pearse against his impression of his "sensitive" nature, describing how "daring and sweet" his ideals were even though he and MacDonagh had to resort to "force". This stanza also shows how Yeats was able to separate his own private feelings towards some of the revolutionary figures from the greater nationalist cause that the group was pursuing. Whilst Yeats had positive regard for the three Republican leaders mentioned above, he despised Major [John MacBride](/source/John_MacBride), who as the estranged husband of [Maud Gonne](/source/Maud_Gonne) (who in turn had been the object of Yeats's romantic feelings for a number of years) had been accused of abusing both Gonne and their daughter during their marriage, although never proven. In this poem, although MacBride is alluded to as a "vainglorious lout" (32) who had "done most bitter wrong" (33) to those close to the narrator's heart, Yeats includes him in his eulogy among those who have fallen for their republican ideals: "Yet I number him in the song;/ He, too, has resigned his part/ In the casual comedy/ He, too, has been changed in turn" (36–7). The phrase "the casual comedy" is laden with sarcasm, pointing to an unnecessary loss of life (a point he picks up again in a later stanza) as well as the senselessness of the killings. Yeats emphasises his repeated charge at the end of the stanza, that, as a result of the execution of the Easter Rising leaders, "A terrible beauty is born" (40). The third stanza differs from the first two stanzas by abandoning the first-person narrative of "I" and moving to the natural realm of streams, clouds, and birds. The speaker elaborates on the theme of change ("Minute by minute they change (48) ... Changes minute by minute" (50)) and introduces the symbol of the stone, which opens and closes the stanza. Unlike the majority of images presented in this stanza, of clouds moving, seasons changing, horse-hoof sliding, which are characterized by their transience, the stone is a symbol of permanence. Yeats compares the fixedness of the revolutionaries' purpose to that of the stone; their hearts are said to be "enchanted to a stone" (43). The stone disturbs or "trouble[s]" "the living stream" (44), a metaphor for how the steadfastness of the revolutionaries' purpose contrasts with the fickleness of less dedicated people. The singularity of their purpose, leading to their ultimate deaths, cut through the complacency and indifference of everyday Irish society at the time. The fourth and last stanza of the poem resumes the first person narrative of the first and second stanzas. The stanza returns to the image of the stony heart: "Too long a sacrifice/ Can make a stone of the heart" (57–8), Yeats wrote, putting the determined struggle of Irish republicans in the Easter Rising in the context of the long history of Irish revolts against British rule, as well as alluding to the immense psychological costs of the struggle for independence. Indeed, the narrator cries, "O when may it suffice?", and answering his own question with the line, "That is heaven's part" (making an allusion to [Shakespeare](/source/Shakespeare)'s play *[Hamlet](/source/Hamlet)*—the parallel line occurs in Act I, scene V, regarding [Gertrude](/source/Gertrude_(Hamlet))'s guilt: "Against thy mother aught: leave her to heaven").[3] In Yeats's scheme, Heaven's role is to determine when the suffering will end and when the sacrifices are considered sufficient (59–60); whilst the role of the people left behind is to forever remember the names of those who had fallen in order to properly lay their wandering spirits to rest: "our part/ To murmur name upon name,/ as a mother names her child/ when sleep at last has come/ On limbs that had run wild." (60–3). In the second half of the last stanza, the narrator wonders aloud whether the sacrifices were indeed warranted: "Was it needless death after all?" (67), contemplating the possibility that the British might still allow the [Home Rule Act 1914](/source/Home_Rule_Act_1914) to come into force without the uprising. However, Yeats made the point that what's done was done. All that is important is to remember the revolutionaries' dream and carry on: "We know their dream; enough/ To know they dreamed and are dead." There is no point arguing over whether these revolutionaries should or shouldn't have acted so rashly for their cause as they did: "And what if excess of love/ bewildered them till they died?" These are some of the most poignant lines in the poem, with the phrase "excess of love" (72) recalling the character of [Oisin](/source/Oisin) in Yeats's long poem "[The Wanderings of Oisin](/source/The_Wanderings_of_Oisin)."[3] [Thomas MacDonagh](/source/Thomas_MacDonagh), mentioned in the poem's final stanza, was executed for his role in the Easter 1916 uprising In the end, the narrator resigns to commemorating the names of those fallen revolutionary figures — [Thomas MacDonagh](/source/Thomas_MacDonagh), [John MacBride](/source/John_MacBride), [James Connolly](/source/James_Connolly) and [Patrick Pearse](/source/Patrick_Pearse) — as eternal heroes of the Irish Republican movement (symbolised by the colour green), with Yeats adapting the final refrain to reflect the price these people paid to change the course of Irish history: I write it out in a verse— MacDonagh and MacBride And Connolly and Pearse Now and in time to be, Wherever green is worn, Are changed, changed utterly: A terrible beauty is born. The extent to which Yeats was willing to eulogize the members of the Easter Rising can be seen in his usage of "green" (78) to commemorate said members above, even though he generally abhors the use of the colour [green](/source/Green) as a political symbol (Yeats's abhorrence was such that he forbade green as the color of the binding of his books).[4] In commemorating the names of the revolutionaries in eloquent lamentation in the final stanza, including even his love rival Major John MacBride, Yeats reconciled his personal private sentiments towards some of the individuals involved with the larger nationalist sentiments upheld and championed by the poem, even if there were revolutionaries whose strategies he didn't fully agree with. Yeats has an interesting perspective on the historical significance of his poem, adding to the tension of his recording. The revolutionaries "now and in time to be (77)... are changed, changed utterly" (79)— the knowledge of which shows Yeats's astute insight into the historical importance of his poetic memorial of these revolutionary figures. The date of the Easter Rising can be seen in the structure of the poem also: there are 16 lines (for 1916) in the first and third stanzas, 24 lines (for April 24, the date the Rising began) in the second and fourth stanzas, and four stanzas in total (which refers to April, the fourth month of the year). ## See also - [September 1, 1939](/source/September_1%2C_1939) ## References 1. **[^](#cite_ref-1)** Vendler, Helen (2007). *Our Secret Discipline.* The [Belknap Press](/source/Belknap_Press) of [Harvard University Press](/source/Harvard_University_Press), pg 17. [ISBN](/source/ISBN_(identifier)) [0-674-02695-0](https://en.wikipedia.org/wiki/Special:BookSources/0-674-02695-0) 1. **[^](#cite_ref-2)** Vendler, pg 20 1. ^ [***a***](#cite_ref-Vendler,_pg_23_3-0) [***b***](#cite_ref-Vendler,_pg_23_3-1) Vendler, pg 23 1. **[^](#cite_ref-4)** Vendler, pg 24 ## External links - [The collected public domain poetry of Yeats as an eBook](https://standardebooks.org/ebooks/w-b-yeats/poetry) at [Standard Ebooks](/source/Standard_Ebooks) - [Original 'Easter, 1916' MS on display at National Library of Ireland](http://www.nli.ie/yeats/) [Archived](https://web.archive.org/web/20070203220551/http://www.nli.ie/yeats/) 3 February 2007 at the [Wayback Machine](/source/Wayback_Machine) - [The full text of the poem](https://www.theatlantic.com/unbound/poetry/soundings/easter.htm) - [*Easter 1916*](https://librivox.org/search?title=Easter+1916&author=Yeats&reader=&keywords=&genre_id=0&status=all&project_type=either&recorded_language=&sort_order=catalog_date&search_page=1&search_form=advanced) public domain audiobook at [LibriVox](/source/LibriVox) (multiple recordings) v t e W. B. Yeats Poetry Volumes The Wanderings of Oisin and Other Poems (1889) The Countess Kathleen and Various Legends and Lyrics (1892) In the Seven Woods (1903) Responsibilities and Other Poems (1916) The Wild Swans at Coole (1919) Michael Robartes and the Dancer (1921) The Tower (1928) The Winding Stair and Other Poems (1933) Poems "Adam's Curse" "Aedh Wishes for the Cloths of Heaven" "Blood and the Moon" "The Circus Animals' Desertion" "Down by the Salley Gardens" "A Drunken Man's Praise of Sobriety" "Easter, 1916" "Ego Dominus Tuus" "The Fiddler of Dooney" "The Gift of Harun Al-Raschid" "In Memory of Eva Gore-Booth and Con Markiewicz" "An Irish Airman Foresees His Death" "The Lake Isle of Innisfree" "Nineteen Hundred and Nineteen" "On being asked for a War Poem" "Politics" "A Prayer for My Daughter" "Remorse for Intemperate Speech" "The Rose of Battle" "The Rose-Tree" "Sailing to Byzantium" "The Scholars" "The Second Coming" "September 1913" "The Song of the Happy Shepherd" "Song of the Old Mother" "The Song of Wandering Aengus" "The Stolen Child" "Swift's Epitaph" "To the Rose upon the Rood of Time" "The Tower" "Under Ben Bulben" "The Wanderings of Oisin" "The Wild Swans at Coole" Plays Mosada (1886) The Land of Heart's Desire (1894) Diarmuid and Grania (1901) Cathleen ni Houlihan (1902) On Baile's Strand (1903) The Countess Cathleen (1911) At the Hawk's Well (1916) The Resurrection (1927) Purgatory (1938) Other works The Works of William Blake: Poetic, Symbolic and Critical (1893; co-author) A Vision (1925) The Bounty of Sweden (1925) "The Curse of the Fires and of the Shadows" Oxford Book of Modern Verse 1892–1935 (editor) The Ten Principal Upanishads (1938, co-translator) People Georgie Hyde-Lees (wife) Anne Yeats (daughter) Michael Yeats (son) John Butler Yeats (father) Susan Pollexfen (mother) Jack Butler Yeats (brother) Elizabeth Yeats (sister) Lily Yeats (sister) Maud Gonne (muse) Related W. B. Yeats bibliography Rhymers' Club Dun Emer Press Cuala Press An Appointment with Mr Yeats Owen Red Hanrahan "Troy" Thoor Ballylee Samhain magazine The Speckled Bird --- Adapted from the Wikipedia article [Easter, 1916](https://en.wikipedia.org/wiki/Easter%2C_1916) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Easter%2C_1916?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.