W. B. Yeats

W. B. Yeats

Summary

Portrait of W. B. Yeats W. B. Yeats A book of images (1898)

There is indeed a systematic mystic in every poet or painter who, like Rossetti, delights in a traditional Symbolism, or, like Wagner, delights in a personal Symbolism; and such men often fall into trances, or have waking dreams. Their thought wanders from the woman who is Love herself, to her sisters and her forebears, and to all the great procession; and so august a beauty moves before the mind, that they forget the things which move before the eyes.
Source: Gutenberg

Portrait of W. B. Yeats W. B. Yeats A book of images (1898)

If you paint a beautiful woman and fill her face, as Rossetti filled so many faces, with an infinite love, a perfected love, “one’s eyes meet no mortal thing when they meet the light of her peaceful eyes,” as Michael Angelo said of Vittoria Colonna; but one’s thoughts stray to mortal things, and ask, maybe, “Has her love gone from her, or is he coming?”
Source: Gutenberg

Portrait of W. B. Yeats W. B. Yeats A book of images (1898)

A person or a landscape that is a part of a story or a portrait, evokes but so much emotion as the story or the portrait can permit without loosening the bonds that make it a story or a portrait; but if you liberate a person or a landscape from the bonds of motives and their actions, causes and their effects, and from all bonds but the bonds of your love, it will change under your eyes, and become a symbol of an infinite emotion, a perfected emotion, a part of the Divine Essence; for we love nothing but the perfect, and our dreams make all things perfect, that we may love them.
Source: Gutenberg

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