From youth on, Yeats has thought to build a religion for himself. Early "bored with an Irish Protestant point of view that suggested, by its blank abstraction, chlorate of lime," he eagerly welcomed any teaching which attested supersensual experience, or gave him a background for those thoughts which came to him "from beyond the mind." "Yeats likes parlor magic," George Moore maliciously remarked, in the '90s. At that time, when religious belief and man's awe before natural mysteries were rapidly breaking up, the wreckage of the supernatural had been swept into mediums' shabby parlors and into the hands of quacks of all kinds. Many men of Yeats's generation took refuge in the Catholic Church. But Yeats kept to his own researches. He had experimented, when an adolescent, with telepathy and clairvoyance, in the company of his uncle, George Pollexfen, a student of the occult. He later studied the Christian Cabala and gradually built up, from his own findings and from the works of Blake, Swedenborg, and Boehme, his theories of visionary and spiritual truth. But he was never, as Edmund Wilson has pointed out, a gullible pupil. He invariably tried to verify phenomena. And to-day, when we know more than we once knew concerning the meaning of man-made symbols, the needs of the psyche, and the workings of the subconscious, Yeats's theories sound remarkably instructed and modernly relevant. His Anima Mundi closely resembles Jung's universal or racial unconscious, and even his conceptions of Image and Anti-Image, the Mask and its opposite, are closely related to psychological truth.
Of late years, after a lifetime spent at efforts to break up the deadening surface of middle-class complacency, Yeats has drawn nourishment from the thought of the relation of eighteenth-century Anglo Irish writers to their society. These men—Swift, Berkeley, Grattan—had behind them, he believes, a social structure capable of being an aid to works of imagination and intellect. The ideal of the artist built into his background, sustaining it and sustained by it, Yeats has termed "Unity of Being." He has striven all his life to give Ireland a sense of what such a society can be, and to make himself an artist worthy of the energy which built "the beautiful humane cities."
In age, he shows no impoverishment of spirit or weakening of intention. He answers current dogmatists with words edged with the same contempt for "the rigid world" of materialism that he used in youth. He is now content to throw out suggestions that are not, perhaps, for our age to complete, as it is not for our age fully to appreciate a man who reiterates: "If we have not the desire of artistic perfection for an art, the deluge of incoherence, vulgarity, and triviality will pass over our heads." But adherence to that creed, and that creed alone, has given us the greatest poet writing in English to-day, and Ireland the greatest it has ever known.
Move upon Newton's town,
The town of Hobbes and of Locke,
Pine, spruce, come down
Cliff, ravine, rock:
What can disturb the corn?
What makes it shudder and bend?
The rose brings her thorn,
The Absolute walks behind.