A Vision: An Explanation of Life Founded upon the Writings of Giraldus and upon Certain Doctrines Attributed to Kusta Ben Luka

“All dreams of the soul

End in a beautiful man’s or woman’s body.”

The parallelism of “man’s or woman’s body” emphasizes the universal nature of this sentiment, suggesting that dreams and aspirations, regardless of gender, gravitate toward a similar ideal of beauty. It also gestures toward The Interplay of Duality and Unity, invoking the opposites of man and woman to highlight their parity.

“The diagram of the Great Wheel shows a series of numbers and symbols which represent the Lunar phases; and all possible human types can be classified under one or other of these twenty-eight phases.”

The term “Great Wheel” serves as a metaphor that evokes imagery of cycles, continuity, and destiny. The wheel, often associated with cyclical processes, reinforces the notion of recurring phenomena. Furthermore, the mention of “Lunar phases” introduces assonance through the repetition of the “u” sound in “Lunar” and “human.” This subtle echo establishes a connection between the celestial and the human, hinting at the intrinsic bond between the two.

“Under the Sun’s light we see things as they are, and go about our day’s work, while under that of the Moon, we see things dimly, mysteriously, all is sleep and dream.”

The contrasting imagery of the Sun and the Moon serves as a juxtaposition. This is a common literary device where two opposing elements are placed side by side to highlight their differences. Here, it accentuates the clear division between the waking, rational world and the mysterious, dreamlike state of the subconscious.

“Feeling that has not become desire because there is no object to desire; a bias by which the soul is classified and its phase fixed but which as yet is without result in action; an energy as yet uninfluenced by thought, action, or emotion; the first matter of a certain personality—choice.”

The description “an energy as yet uninfluenced by thought, action, or emotion” employs asyndeton by omitting conjunctions between the series of nouns (“thought, action, emotion”). This gives a rapid, almost breathless quality to the enumeration, emphasizing the purity and untouched nature of this energy.

“Such men are able to bring all that happens, as well as all that they desire, into an emotional or intellectual synthesis and so to possess not the Vision of Good only but that of Evil.”

The phrase “bring all that happens, as well as all that they desire” employs parallelism, with two balanced clauses highlighting the encompassing scope of these individuals’ synthesis. The juxtaposition of external events (“all that happens”) with internal desires (“all that they desire”) showcases their ability to merge both the external world and their internal realm, and an important part of the cyclical development of the soul.

“Man does not perceive the truth; God perceives the truth in man.”

Beginning with the parallel structure, the sentence presents two contrasting ideas side by side: “Man does not perceive the truth” and “God perceives the truth in man.” This contrast not only highlights the difference in capabilities between man and God but also subtly emphasizes humanity’s limitations in comparison to the divine. The use of antithesis further magnifies this difference. While man fails to perceive truth directly, God succeeds not just in perceiving the truth but does so within man himself. Another interpretation is also possible: If we interpret the line as “God, within man, is what perceives truth,” it emphasizes the idea that the divine presence or essence within humans is the actual force that grants them the capacity to discern or understand truth.

“A woman’s beauty is a storm-tossed banner;

Under it wisdom stands.”

The primary device in play is a metaphor, which is a figure of speech where a term or phrase is applied to something it does not apply to in order to suggest a resemblance. “A woman’s beauty” is metaphorically described as “a storm-tossed banner.” This suggests that beauty, like a banner in a storm, is noticeable, perhaps even attention-grabbing, but can be fleeting or turbulent.

“Having the concrete mind of the poet, I am unhappy when I find myself among abstract things, and yet I need them to set my experience in order.”

The statement captures a paradoxical sentiment. While the speaker acknowledges having a “concrete mind” that finds discomfort in abstract notions, he also admits needing these very abstractions to organize experiences. This duality captures the complex relationship between the tangible and intangible. Also, the use of “unhappy” juxtaposed with “need them” conveys a sense of internal conflict. The speaker is torn between the natural inclination toward the tangible and the recognition of the importance of the abstract.

“It is as though the first act of being, after creating limit, was to divide itself into male and female, each dying the other’s life living the other’s death.”

The phrase “It is as though” introduces a simile, comparing the concept that follows to the reader’s existing understanding of creation. Additionally, “the first act of being” gives an abstract concept, existence, or creation human-like qualities by attributing to it an action, suggesting a deliberate intent and purpose.

“With the system in my bones I must declare that those ancestors still live and that time and space would vanish if they closed their eyes.”

The phrase, “With the system in my bones,” is a metaphor. By using “bones,” which are foundational to human structure, Yeats emphasizes an unshakeable belief. The lines suggest that the ancestors’ eternal watchfulness holds the universe’s fabric intact. The very idea that “time and space would vanish” is also a hyperbolic statement, intensifying the ancestors’ significance.

“The world is a drama where person follows person, and though the dialogue prepares for all the entrances, that preparation is not the person’s proof, nor is Polonius disproved when Hamlet seems to kill him.”

The metaphor, “The world is a drama,” likens life and its events to a theatrical play, emphasizing its predictability, roles, and the transient nature of existence. This comparison underscores the idea that events are interconnected, just as scenes in a drama build upon one another. The reference to “Polonius” and “Hamlet” draws from Shakespeare’s Hamlet, using allusion to provide context and depth. Through this allusion, the narrative touches on the theme of reality versus perception.

“There can be neither cause nor effect when all things are co-eternal.”

The phrase “neither cause nor effect” introduces a paradox that challenges the traditional understanding of linear time and causality. By asserting that “all things are co-eternal,” the quote negates the typical sequence of events or the idea that one thing necessarily precedes another. Instead, it implies a timeless realm where everything exists simultaneously. The juxtaposition of these ideas prompts reflection on the nature of existence, time, and the interconnectedness of events and entities.

“Did she put on his knowledge with his power

 Before the indifferent beak could let her drop?”

Here, a rhetorical probes into the timing and urgency of the action. It questions if Leda was able to assimilate Zeus’s knowledge and power before an inevitable fall or demise, symbolized by being let go by the beak.

“A civilization [sic] is a struggle to keep self-control, and in this it is like some great tragic person, some Niobe who must display an almost superhuman will or the cry will not touch our sympathy.”

The comparison of civilization to “some Niobe” employs a simile. By likening civilization to Niobe, a tragic figure from Greek mythology who lost all her children and was turned to stone in her grief, the quote underscores the weight and gravity of civilization’s challenges. This comparison also highlights the vulnerability and fragility of civilization, implying that like Niobe, civilizations face profound losses and challenges that require immense strength and resilience to overcome.

“Each age unwinds the thread another age had wound.”

This sentence employs metaphor and antithesis to convey a cyclical view of time and the interconnectedness of historical epochs. Through the metaphor of a “thread,” the progression of time is likened to the continuous winding and unwinding of a spool. The use of antithesis in “unwinds” and “wound” underscores the cyclical and sometimes oppositional nature of historical developments. One age’s progress or decisions may be undone or reversed in another.

“Upon the throne and upon the cross alike the myth becomes a biography.”

The juxtaposition of “throne” and “cross” contrasts symbols of power and sacrifice. The “throne” represents secular power, often associated with royalty, while the “cross” symbolizes religious sacrifice. By placing these two symbols side by side, the statement suggests that both secular and religious narratives are susceptible to the same transformational process.

The statement that “myth becomes a biography” delves into the idea that stories or myths that were once seen as abstract or allegorical can become personalized or literal over time. A myth, which is a cultural narrative that may or may not be grounded in factual events, transforms into a biography, a detailed account of an individual’s life. This transformation emphasizes the power of interpretation and the malleability of narratives across time and contexts.

“There are no miracles to stare at, for man descends the hill he once climbed with so great toil, and all grows but natural again.”

The imagery of a “man descend[ing] the hill he once climbed” paints a picture of the human journey. The upward climb represents effort, struggle, and progress, while the descent symbolizes regression or return to a previous state. The hill serves as a metaphor for life’s challenges and achievements, suggesting that after overcoming obstacles, there’s an inevitable return to a baseline or starting point.

The idea that a miracle “all grows but natural again” creates a paradox. Miracles, by definition, are extraordinary events, but as the quote suggests, over time, even the most miraculous occurrences can become ordinary or “natural.” This paradox underscores the fleeting nature of wonder and the human tendency to adapt and normalize experiences over time.

“The beginning of the gyre like that of its forerunner is violent, a breaking of the soul and world into fragments, and has for a chief character the materialistic movement at the end of the seventeenth century.”

In this context, the “gyre” serves as an allegorical representation of historical and societal cycles. The progression and regression of civilizations, ideologies, and spiritual beliefs are all encapsulated in the idea of the gyre. By referring to the “beginning of the gyre” as “violent” and associating it with the “breaking of the soul and world into fragments,” the allegory suggests the destructive nature of change and the cyclical pattern of rebirth after destruction.

Furthermore, by grounding this allegorical gyre in a specific historical context—“the materialistic movement at the end of the seventeenth century”—the narrative ties the broader allegorical message to tangible historical events, suggesting that history itself is a series of interconnected allegorical cycles.

“When cradle and spool are past

And I mere shade at last

Coagulate of stuff

Transparent like the wind,

I think that I may find

A faithful love, a faithful love.”

The progression from “cradle” to “spool” metaphorically captures the entire span of life, starting from birth and leading up to the point where the thread of life unwinds completely. The imagery of becoming “mere shade” and being “transparent like the wind” depicts an insubstantial, ghostly existence post-life. The repetition of “a faithful love” serves as an anaphora, emphasizing the deep-seated human desire for a lasting connection.

“Mind moved but seemed to stop

As ‘twere a spinning top.”

The comparison of the mind to a spinning top suggests that while there is activity and movement, there is also a sense of stillness or stasis, much like a top that spins so fast it appears motionless. This comparison creates an image that captures the paradox of activity and stillness coexisting.

“No concrete image that comes before the mind in sleep is ever from the memory; for in sleep we enter upon the same life as that we enter between death and birth.”

This passage juxtaposes the concepts of sleep and the life between death and birth. This juxtaposition elevates sleep from a mere restful state to a profound experience akin to the mysterious realm between life cycles. By comparing sleep to this ethereal existence, the statement stresses the transcendental nature of dreams, emphasizing their distinction from mere memory recollections.

“Much of this book is abstract, because it has not yet been lived, for no man can dip into life more than a moiety of any system. When a child, I went out with herring fishers one dark night, and the dropping of their nets into the luminous sea and the drawing of them up has remained with me as a dominant image. Have I found a good net for a herring fisher?”

The act of intellectual or spiritual exploration is metaphorically likened to fishing. The book and its abstract concepts are “nets,” suggesting that both are tools attempting to capture the essence of something larger or more elusive. This metaphor is deepened by the imagery of a “dark night” and “nets” descending into a “luminous sea.” The contrast between the darkness of the night and the luminosity of the sea mirrors the juxtaposition between the known and the unknown, the tangible and the intangible.

“And it is All Souls’ Night

And two long glasses brimmed with muscatel

Bubble upon the table.

A ghost may come;

For it is a ghost’s right.”

The lines “And it is All Souls’ Night” and “For it is a ghost’s right” exhibit end rhyme. This rhyme scheme connects the idea of “All Souls’ Night,” a night dedicated to the remembrance of the deceased, with the concept of the “ghost’s right,” reinforcing the belief that spirits have the privilege to return on this particular night. The excerpt also exhibits enjambment, which is when a line in poetry runs over into the next line without punctuation. Enjambment creates continuity across separation, which mirrors the way that the material and spiritual worlds are connected across the veil that separates them on All Souls’ Night.