The Wind Among the Reeds — A Closer Reading
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The source record for The Wind Among the Reeds — A Closer Reading measures this digital text at 14,589 words, 1 hr 4 min estimated reading time, and 3 detected text sections.
The text analysis averages about 33.4 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “English poetry -- Irish authors,” connecting these edition facts with the source record’s subject description.
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And thought not of evil chance, Until one bore Bridget his bride Away from the merry dance.
He bore her away in his arms, The handsomest young man there, And his neck and his breast and his arms Were drowned in her long dim hair.
O'Driscoll scattered the cards And out of his dream awoke: Old men and young men and young girls Were gone like a drifting smoke;
But he heard high up in the air A piper piping away, And never was piping so sad, And never was piping so gay.
BREASAL THE FISHERMAN
Although you hide in the ebb and flow Of the pale tide when the moon has set, The people of coming days will know About the casting out of my net, And how you have leaped times out of mind Over the little silver cords, And think that you were hard and unkind, And blame you with many bitter words.
The Danann children laugh, in cradles of wrought gold, And clap their hands together, and half close their eyes, For they will ride the North when the ger-eagle flies, With heavy whitening wings, and a heart fallen cold: I kiss my wailing child and press it to my breast, And hear the narrow graves calling my child and me. Desolate winds that cry over the wandering sea; Desolate winds that hover in the flaming West; Desolate winds that beat the doors of Heaven, and beat The doors of Hell and blow there many a whimpering ghost; O heart the winds have shaken; the unappeasable host Is comelier than candles before Maurya's feet.
Out-worn heart, in a time out-worn, Come clear of the nets of wrong and right; Laugh heart again in the gray twilight, Sigh, heart, again in the dew of the morn.
Your mother Eire is always young, Dew ever shining and twilight gray; Though hope fall from you and love decay, Burning in fires of a slanderous tongue.
Come, heart, where hill is heaped upon hill: For there the mystical brotherhood Of sun and moon and hollow and wood And river and stream work out their will; And God stands winding His lonely horn, And time and the world are ever in flight; And love is less kind than the gray twilight, And hope is less dear than the dew of the morn.
THE SONG OF WANDERING AENGUS
I went out to the hazel wood, Because a fire was in my head, And cut and peeled a hazel wand, And hooked a berry to a thread; And when white moths were on the wing, And moth-like stars were flickering out, I dropped the berry in a stream And caught a little silver trout.
When I had laid it on the floor I went to blow the fire a-flame, But something rustled on the floor, And someone called me by my name: It had become a glimmering girl With apple blossom in her hair Who called me by my name and ran And faded through the brightening air.
Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass, And pluck till time and times are done, The silver apples of the moon, The golden apples of the sun.
THE SONG OF THE OLD MOTHER
I rise in the dawn, and I kneel and blow Till the seed of the fire flicker and glow; And then I must scrub and bake and sweep Till stars are beginning to blink and peep; And the young lie long and dream in their bed Of the matching of ribbons for bosom and head, And their day goes over in idleness, And they sigh if the wind but lift a tress: While I must work because I am old, And the seed of the fire gets feeble and cold.
THE FIDDLER OF DOONEY
When I play on my fiddle in Dooney, Folk dance like a wave of the sea; My cousin is priest in Kilvarnet, My brother in Moharabuiee.
I passed my brother and cousin: They read in their books of prayer; I read in my book of songs I bought at the Sligo fair.
When we come at the end of time, To Peter sitting in state, He will smile on the three old spirits, But call me first through the gate;
For the good are always the merry, Save by an evil chance, And the merry love the fiddle And the merry love to dance:
And when the folk there spy me, They will all come up to me, With 'Here is the fiddler of Dooney!' And dance like a wave of the sea.
THE HEART OF THE WOMAN
The Wind Among the Reeds, first published in 1899, presents a sequence of lyric poems that shift between intimate address and mythic invocation. Yeats employs a recurring set of personae—Aedh, Michael Robartes, and Hanrahan—each associated with distinct emotional registers. The poems often begin with a direct plea or declaration, then move into imagery drawn from the Irish landscape and the supernatural world of the Sidhe. The collection's structure is marked by this oscillation between personal longing and the larger forces of fate and enchantment.
Recurring Personae and Their Voices
Three named speakers appear across the collection: Aedh, Michael Robartes, and Hanrahan. Aedh's poems tend toward lament and desire, as in 'Aedh tells of the Rose in his Heart,' where he contrasts 'all things uncomely and broken' with the beloved's image. Michael Robartes speaks with a more commanding tone, bidding his beloved 'be at Peace' or asking forgiveness for his many moods. Hanrahan, a wandering poet, reproves the curlew and laments his own restlessness. These personae are not developed as characters but serve as distinct lyrical masks, allowing Yeats to explore variations on love, loss, and the supernatural without committing to a single speaker.
Movement Between Worlds
Many poems enact a crossing between the mortal realm and the world of the Sidhe. 'The Hosting of the Sidhe' opens with the host riding from Knocknarea, calling 'Away, come away.' The speaker is urged to 'Empty your heart of its mortal dream.' This movement is echoed in 'The Host of the Air,' where a mortal child is taken. The notes provide context: Yeats explains that the Sidhe often take mortals, leaving a substitute in their place. The poems themselves rarely resolve this crossing; instead, they dwell in the moment of transition, where the boundary between worlds becomes permeable.
Recurring Images of Nature and Decay
Yeats repeatedly uses natural imagery to evoke transience and longing. In 'The Moods,' time 'drops in decay, / Like a candle burnt out,' and 'the mountains and woods / Have their day, have their day.' The wind, leaves, and shore appear in multiple poems, often as agents of change or as witnesses to loss. 'The Everlasting Voices' are heard 'in birds, in wind on the hill, / In shaken boughs, in tide on the shore.' These images are not merely decorative; they ground the supernatural in the physical landscape of Ireland, creating a world where the natural and the otherworldly are intertwined.
The Role of the Notes
The collection includes extensive notes by Yeats, which provide folklore and commentary on the poems. For instance, the note to 'The Host of the Air' recounts a story from Ballisodare about a woman taken by the Sidhe, and describes the belief that a substitute is left in the mortal's place. Yeats also discusses the 'magical sleep' into which the Sidhe cast mortals. These notes do not simply explain the poems; they offer a parallel text that enriches the reader's understanding of the sources and beliefs behind the verse. The notes reveal Yeats's engagement with Irish oral tradition and his effort to preserve and interpret it.
Readers approaching The Wind Among the Reeds may find it helpful to attend to the shifts in speaker and the recurring imagery of wind, water, and twilight. The notes, placed at the end, reward those who read them alongside the poems. The collection rewards repeated reading, as its patterns of invocation and lament deepen with familiarity.
Reading Yeats’s The Wind Among the Reeds again, I kept thinking how his notes feel like private folklore, almost whispered. That same intimacy surfaced in the pages of Some Imagist Poets, 1916: An Annual Anthology — Reading Companion, where precision doesn’t chill the warmth. Both collections ask for quiet patience, letting a single image settle slowly, like rain on still water.
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