The Full Text of “A Prayer for my Daughter”
1Once more the storm is howling, and half hid
2Under this cradle-hood and coverlid
3My child sleeps on. There is no obstacle
4But Gregory's wood and one bare hill
5Whereby the haystack- and roof-levelling wind,
6Bred on the Atlantic, can be stayed;
7And for an hour I have walked and prayed
8Because of the great gloom that is in my mind.
9I have walked and prayed for this young child an hour
10And heard the sea-wind scream upon the tower,
11And under the arches of the bridge, and scream
12In the elms above the flooded stream;
13Imagining in excited reverie
14That the future years had come,
15Dancing to a frenzied drum,
16Out of the murderous innocence of the sea.
17May she be granted beauty and yet not
18Beauty to make a stranger's eye distraught,
19Or hers before a looking-glass, for such,
20Being made beautiful overmuch,
21Consider beauty a sufficient end,
22Lose natural kindness and maybe
23The heart-revealing intimacy
24That chooses right, and never find a friend.
25Helen being chosen found life flat and dull
26And later had much trouble from a fool,
27While that great Queen, that rose out of the spray,
28Being fatherless could have her way
29Yet chose a bandy-leggèd smith for man.
30It's certain that fine women eat
31A crazy salad with their meat
32Whereby the Horn of Plenty is undone.
33In courtesy I'd have her chiefly learned;
34Hearts are not had as a gift but hearts are earned
35By those that are not entirely beautiful;
36Yet many, that have played the fool
37For beauty's very self, has charm made wise,
38And many a poor man that has roved,
39Loved and thought himself beloved,
40From a glad kindness cannot take his eyes.
41May she become a flourishing hidden tree
42That all her thoughts may like the linnet be,
43And have no business but dispensing round
44Their magnanimities of sound,
45Nor but in merriment begin a chase,
46Nor but in merriment a quarrel.
47O may she live like some green laurel
48Rooted in one dear perpetual place.
49My mind, because the minds that I have loved,
50The sort of beauty that I have approved,
51Prosper but little, has dried up of late,
52Yet knows that to be choked with hate
53May well be of all evil chances chief.
54If there's no hatred in a mind
55Assault and battery of the wind
56Can never tear the linnet from the leaf.
57An intellectual hatred is the worst,
58So let her think opinions are accursed.
59Have I not seen the loveliest woman born
60Out of the mouth of Plenty's horn,
61Because of her opinionated mind
62Barter that horn and every good
63By quiet natures understood
64For an old bellows full of angry wind?
65Considering that, all hatred driven hence,
66The soul recovers radical innocence
67And learns at last that it is self-delighting,
68Self-appeasing, self-affrighting,
69And that its own sweet will is Heaven's will;
70She can, though every face should scowl
71And every windy quarter howl
72Or every bellows burst, be happy still.
73And may her bridegroom bring her to a house
74Where all's accustomed, ceremonious;
75For arrogance and hatred are the wares
76Peddled in the thoroughfares.
77How but in custom and in ceremony
78Are innocence and beauty born?
79Ceremony's a name for the rich horn,
80And custom for the spreading laurel tree.
The Full Text of “A Prayer for my Daughter”
1Once more the storm is howling, and half hid
2Under this cradle-hood and coverlid
3My child sleeps on. There is no obstacle
4But Gregory's wood and one bare hill
5Whereby the haystack- and roof-levelling wind,
6Bred on the Atlantic, can be stayed;
7And for an hour I have walked and prayed
8Because of the great gloom that is in my mind.
9I have walked and prayed for this young child an hour
10And heard the sea-wind scream upon the tower,
11And under the arches of the bridge, and scream
12In the elms above the flooded stream;
13Imagining in excited reverie
14That the future years had come,
15Dancing to a frenzied drum,
16Out of the murderous innocence of the sea.
17May she be granted beauty and yet not
18Beauty to make a stranger's eye distraught,
19Or hers before a looking-glass, for such,
20Being made beautiful overmuch,
21Consider beauty a sufficient end,
22Lose natural kindness and maybe
23The heart-revealing intimacy
24That chooses right, and never find a friend.
25Helen being chosen found life flat and dull
26And later had much trouble from a fool,
27While that great Queen, that rose out of the spray,
28Being fatherless could have her way
29Yet chose a bandy-leggèd smith for man.
30It's certain that fine women eat
31A crazy salad with their meat
32Whereby the Horn of Plenty is undone.
33In courtesy I'd have her chiefly learned;
34Hearts are not had as a gift but hearts are earned
35By those that are not entirely beautiful;
36Yet many, that have played the fool
37For beauty's very self, has charm made wise,
38And many a poor man that has roved,
39Loved and thought himself beloved,
40From a glad kindness cannot take his eyes.
41May she become a flourishing hidden tree
42That all her thoughts may like the linnet be,
43And have no business but dispensing round
44Their magnanimities of sound,
45Nor but in merriment begin a chase,
46Nor but in merriment a quarrel.
47O may she live like some green laurel
48Rooted in one dear perpetual place.
49My mind, because the minds that I have loved,
50The sort of beauty that I have approved,
51Prosper but little, has dried up of late,
52Yet knows that to be choked with hate
53May well be of all evil chances chief.
54If there's no hatred in a mind
55Assault and battery of the wind
56Can never tear the linnet from the leaf.
57An intellectual hatred is the worst,
58So let her think opinions are accursed.
59Have I not seen the loveliest woman born
60Out of the mouth of Plenty's horn,
61Because of her opinionated mind
62Barter that horn and every good
63By quiet natures understood
64For an old bellows full of angry wind?
65Considering that, all hatred driven hence,
66The soul recovers radical innocence
67And learns at last that it is self-delighting,
68Self-appeasing, self-affrighting,
69And that its own sweet will is Heaven's will;
70She can, though every face should scowl
71And every windy quarter howl
72Or every bellows burst, be happy still.
73And may her bridegroom bring her to a house
74Where all's accustomed, ceremonious;
75For arrogance and hatred are the wares
76Peddled in the thoroughfares.
77How but in custom and in ceremony
78Are innocence and beauty born?
79Ceremony's a name for the rich horn,
80And custom for the spreading laurel tree.
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“A Prayer for my Daughter” Introduction
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The Irish poet William Butler Yeats wrote “A Prayer for my Daughter” in 1919, two days after the birth of his daughter, Anne, and included it in his 1921 collection, Michael Robartes and the Dancer. In the poem, a speaker (usually read as Yeats himself) prays about the type of woman he hopes his daughter will become and the kind of life he hopes she will have. At its core, the poem expresses a father's heartfelt wishes for his newborn daughter. In a larger sense, "A Prayer for my Daughter" is a rich, complex reflection on the joys and struggles of parenthood, Irish politics, and Yeats's own past.
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“A Prayer for my Daughter” Summary
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The storm is raging once again, and, partly covered by her cradle, my daughter keeps sleeping. Nothing—apart from the nearby forest called Gregory's Wood and a single hill—can stop the strong wind, which destroys haystacks and roofs as it blows in from the Atlantic Ocean. And for an hour, I've been walking around and praying because of the deep sadness that I feel inside my head.
I've been walking and praying for my young daughter for an hour. And as I've done so I've heard the screaming sound of the ocean wind, which blows against the tower where we're staying, underneath the curves of the bridge, and through the elm trees along the overflowing stream. I've eagerly imagined, as in a daydream, that the future is already here, dancing to a wild drumbeat and arising from the harmful yet blameless ocean.
I pray that my daughter will be beautiful, but not so beautiful that she drives others mad—nor herself mad when she looks in the mirror. For those who are made too beautiful think that beauty is something to be pursued for its own sake. They lose their kind nature, as well as the ability to be truly intimate and good. Because of all this, they never make friends or find a romantic partner.
Helen of Troy, who was chosen to be a king's wife, found life with him very boring; later, she suffered at the hands of her lover, Paris, a foolish man. Meanwhile, the queen Aphrodite, who was born in the ocean waves, had no father and could have chosen any man. Yet, she chose Hephaestus, a crippled blacksmith, as her husband. Without a doubt, beautiful women waste the gift of their natural beauty by doing crazy things.
I'd have my daughter educated mainly in manners and civility. Other people's affection isn't something you're given like a gift, but rather is something that those who aren't completely beautiful have to work for. Even so, many people who have acted foolishly in the pursuit of beauty have later been made wise by a woman's charming manners. And many poor men who have roamed about, loved, and felt loved by others are attracted to a woman by simple acts of kindness.
I pray that my daughter becomes a prosperous tree that is hidden from view. I hope her thoughts are like the finch: interested only in sharing their generous, pleasing sounds with the world. I hope she only chases after things or argues as a kind of silly joke. Oh God, let her live like a green laurel tree standing forever in a single, precious place.
My mind—because the minds I have loved and the kind of beauty I have been attracted to come to nothing—has recently gone dry. Nonetheless, I know that being full of hatred may be the worst of all evils. If a mind is free of hatred, then the destruction of the wind can never rip the finch from the tree branch.
The worst kind of hatred is the one that originates in the mind, so let my daughter think that opinions are something to be avoided. Have I not seen the most beautiful woman ever born out of nature's rich abundance, due to her opinions, trade her natural blessings—and everything that quiet, sensitive people would consider good—for an old, angry man?
Thinking about all of this, all hate having been sent away, the soul becomes radically pure again and finally realizes that it is self-sufficient: it can make itself happy, peaceful, and frightened. The soul also learns that its own pure will is the will of God. My daughter—even if all people frown and the wind howls everywhere or every bellows breaks—can be happy nonetheless.
I also pray that her husband takes her to a home where everything is done according to custom and ceremony. For feelings of superiority and ill will are sold in the streets. How else but in tradition, order, and respect are purity and beauty created? Ceremony is a name for the rich bounty of nature, and custom is a name for the growing laurel tree.
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“A Prayer for my Daughter” Themes
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Womanhood and Traditional Femininity
In “A Prayer for My Daughter,” the speaker imagines the woman he hopes his infant daughter will become: someone who's pretty, independent, and intelligent, but also demure, pleasant, and obedient. His prayers reflect both his hopes for his daughter and his take on womanhood in general; to this speaker, living a happy life as a woman means living life well within the confines of social convention. He believes that fulfilling the ideals of traditional femininity is how women can survive the stormy dangers of the world.
The speaker makes this prayer for his daughter in the first place because he feels that women are particularly vulnerable to the world's dangers and difficulties. The storm that howls at the poem’s start symbolizes those dangers, which threaten the speaker’s infant daughter “half hid” in her cradle. Women, the speaker believes, must protect themselves—or, really, find someone to protect them—from the “[a]ssault and battery” of the unpredictable winds of life.
To do so, the speaker believes that women must tread a careful path within the bounds of social convention. In other words, they should try to live up to traditional (if often conflicting) feminine ideals.
The speaker thus says that women should be beautiful, but not so beautiful that they become vain or make men "distraught." Women should be courteous and pleasant, free from "hatred" and filled with "radical innocence," yet also "wise" enough to catch foolish men's eyes. They should know how to "earn[]" another's heart, but lack headstrong opinions that might lead them astray from what (the men in their lives think) is best for them. They should dispense plenty of happy thoughts and never seriously argue with someone else. In essence, women should be attractive yet humble, charming yet demure, independent yet submissive.
All of this is in service, it seems, of finding a "bridegroom" who will look after them in a "ceremonious" home far from the "arrogance and hatred" of the common world. The speaker’s ultimate hope that his daughter “become a flourishing hidden tree” further emphasizes his belief that women should be encouraged to grow and prosper in a controlled and even secretive environment, protected by social convention from the dangers and indignities of the world.
Though this all seems limiting and sexist by today’s standards, the poem nonetheless expresses a tender hope that the speaker's daughter will find happiness and peace. Even as the speaker asserts women’s need for isolation, protection, and restraint, he also honors their dignity, power, and beauty. In the speaker’s view, this traditional path lets femininity blossom and offers women a life of happiness and stability. If the speaker’s daughter follows such a path, he argues, she will learn that her soul is “self-delighting”—in other words, fulfilling such "ceremony" and "custom" is its own reward.
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The Power and Danger of Beauty
The speaker of “A Prayer for My Daughter” makes what might seem like a strange request: he wants his daughter to be blessed with beauty, but not too much beauty—to be attractive to men, but not so attractive that men become "distraught" at the sight of her or that she herself can't stop looking in the mirror. Beauty, the speaker argues, is at once alluring and dangerous, with the power to turn beautiful people themselves and those who desire them into vain, lonely fools.
According to the speaker, people who are too beautiful, especially women, are prone to destroying themselves and others. For example, the speaker thinks of the mythical Helen of Troy (whose beauty inspired the bloody Trojan War) and the “great Queen” Aphrodite (the goddess of love and beauty, who wasted her looks, the speaker says, by marrying the “bandy-leggèd” Hephaestus). Both these legendary figures, the speaker imagines, were too beautiful for their own good; their beauty just caused destruction and made them unhappy. Extreme beauty, in this speaker’s view, makes everyone who comes in contact with it go a little bit loopy.
Because physical beauty is so alluring, it also has the power to make beautiful people and their admirers alike so obsessed with looks that they become unkind and isolated. To illustrate this, the speaker laments how he has seen “the loveliest woman born”—a reference to Maud Gonne, a famously beautiful woman who repeatedly rejected Yeats’s romantic advances—waste her beauty and fail to live the good life she could have had by marrying the wrong man (Yeats is certainly bitter here!). He also warns that people who "[c]onsider beauty a sufficient end" (that is, who prize beauty itself above all) lose their "natural kindness" and humanity—thus losing their ability to connect with others and "find a friend."
Because beauty is so powerful and dangerous, the speaker argues, it’s best if his daughter—and indeed, all women—are not too beautiful. For this speaker, the best kind of beauty is a beauty of restraint; beauty is too powerful and destructive a force to exist in uncontrolled excess.
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The Hopes and Fears of Parenthood
In “A Prayer for My Daughter,” the speaker balances fear of the world’s chaos, danger, and uncertainty with hope that his daughter will grow into a lovely woman with a happy, stable life. The speaker knows that nothing in life is guaranteed, however, and though he hopes his daughter will live a life of “innocence and beauty,” he’s also anxious that she will not get to have the ideal life he imagines for her. His prayer’s mixture of “excited reverie” and “frenzied” panic illustrates the tension parents may feel between anxiety and hope regarding their children’s uncertain futures.
In the speaker’s mind, his infant daughter is almost unbearably vulnerable to the world’s dangers. When he notes that his daughter is only “half hid” in her cradle, this suggests that she's exposed to both the literal storm outside and to the unpredictable ups and downs of life that this storm represents. And even as the speaker prays that she will have a happy future, he imagines all the ways that said future could go wrong.
The speaker wants to protect his daughter—from the perils of adult womanhood, negative opinions, hatred, and the overall destructiveness of the outside world—but he worries that he won’t be able to do so. Though he has high hopes for his child, he is always aware of the “[a]ssault and battery of the wind”—the metaphorical storms of life—that threaten to “tear the linnet from the leaf” and make her unhappy.
But while the world’s uncertainty frightens the speaker, it also creates space for him to express ambitious hopes for his daughter’s future life. Imagining his daughter as an adult, the speaker prays she will possess the perfect amount of beauty—not too much, not too little—and that she’ll be courteous, full of pleasant thoughts, and free of hatred. If the speaker’s hopes come true, he predicts, his daughter will “flourish[].” And envisioning the “radical innocence” he hopes his daughter will achieve, he dreams that she will be self-sufficient and happy despite the many challenges and uncertainties of the outside world. The speaker thus balances his anxiety about the adversity his daughter will inevitably face with a hopeful vision of the type of woman he imagines she could become.
Ultimately, then, the poem suggests that parenthood is a source of both agonized fear and joyful hope. The speaker balances his anxieties about the future with his robust hope that his daughter will live a prosperous, stable, happy life, growing like a “spreading laurel tree.” By achieving a balance between hope for the future and fear of uncertainty, the speaker explores the conflicting emotions that all parents feel for their children. Those mixed emotions, the poem suggests, are an inevitable, necessary part of loving one’s kid.
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Line-by-Line Explanation & Analysis of “A Prayer for my Daughter”
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Lines 1-8
Once more the storm is howling, and half hid
Under this cradle-hood and coverlid
My child sleeps on. There is no obstacle
But Gregory's wood and one bare hill
Whereby the haystack- and roof-levelling wind,
Bred on the Atlantic, can be stayed;
And for an hour I have walked and prayed
Because of the great gloom that is in my mind.The poem begins with a storm raging outside "[o]nce more," a phrase that suggests that there was a brief ebb in this storm before the poem began (and, perhaps, that the speaker has been sitting with his daughter for quite some time). The speaker's young daughter is "half hid" in her cradle and "sleeps on," apparently oblivious to the chaos of the wind "howling" outside.
Right away, note how the daughter is at once protected (she's indoors with the speaker, and she's halfway sheltered by her cradle) and vulnerable (she's only halfway sheltered by her cradle, which is to say that she's also halfway exposed, and unaware of the danger that swirls around her).
The speaker, for his part, is clearly aware of his daughter's vulnerability to this storm, worrying that "[t]here is no obstacle" apart from a nearby forest and a single "bare hill" to shelter their residence from the violent weather. ("Gregory's wood" refers to an actual forest on the estate of Lady Gregory, Yeats's close friend and literary associate.) The storm outside has gotten this speaker pretty worked up, and he paces and prays anxiously "[b]ecause of the great gloom that is in my mind."
By this point, readers might start to sense that this storm is not just a literal one, but also symbolic of the worldly dangers that await the speaker's daughter. Yeats's first child, a daughter named Anne, was born just two days before this poem was written, in 1919, and readers can assume that the poem evokes his personal anxieties as a new parent.
This eight-line stanza also establishes the poem's rhyme scheme, which runs AABBCDDC, and meter, which is a loose mixture of iambic pentameter and tetrameter. An iamb is a poetic foot with a da-dum rhythm; pentameter means there are five of these iambs per line, while tetrameter means there are just four. This meter adds some steadiness and rhythm to the poem, though Yeats stretches and plays with the meter a lot. For example, listen to lines 1 and 2:
Once more | the storm | is howl- | ing, and | half hid
Under | this cra- | dle-hood | and cov- | erlidNotice that both lines have five feet (pentameter) and that, overall, the iambic da-dum rhythm predominates. Yet clearly not all the feet here are iambs (starting with the poem's very first foot: "Once more")! The point of this metrical flexibility is simple: it adds emphasis to certain words and ideas, like "Once more" and "half hid." The steady pulse of the iamb, meanwhile, also helps create an ominous, threatening atmosphere, which makes the "great gloom" in the speaker's mind seem more heartfelt, urgent, and intense.
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Lines 9-16
I have walked and prayed for this young child an hour
And heard the sea-wind scream upon the tower,
And under the arches of the bridge, and scream
In the elms above the flooded stream;
Imagining in excited reverie
That the future years had come,
Dancing to a frenzied drum,
Out of the murderous innocence of the sea. -
Lines 17-24
May she be granted beauty and yet not
Beauty to make a stranger's eye distraught,
Or hers before a looking-glass, for such,
Being made beautiful overmuch,
Consider beauty a sufficient end,
Lose natural kindness and maybe
The heart-revealing intimacy
That chooses right, and never find a friend. -
Lines 25-32
Helen being chosen found life flat and dull
And later had much trouble from a fool,
While that great Queen, that rose out of the spray,
Being fatherless could have her way
Yet chose a bandy-leggèd smith for man.
It's certain that fine women eat
A crazy salad with their meat
Whereby the Horn of Plenty is undone. -
Lines 33-40
In courtesy I'd have her chiefly learned;
Hearts are not had as a gift but hearts are earned
By those that are not entirely beautiful;
Yet many, that have played the fool
For beauty's very self, has charm made wise,
And many a poor man that has roved,
Loved and thought himself beloved,
From a glad kindness cannot take his eyes. -
Lines 41-48
May she become a flourishing hidden tree
That all her thoughts may like the linnet be,
And have no business but dispensing round
Their magnanimities of sound,
Nor but in merriment begin a chase,
Nor but in merriment a quarrel.
O may she live like some green laurel
Rooted in one dear perpetual place. -
Lines 49-56
My mind, because the minds that I have loved,
The sort of beauty that I have approved,
Prosper but little, has dried up of late,
Yet knows that to be choked with hate
May well be of all evil chances chief.
If there's no hatred in a mind
Assault and battery of the wind
Can never tear the linnet from the leaf. -
Lines 57-64
An intellectual hatred is the worst,
So let her think opinions are accursed.
Have I not seen the loveliest woman born
Out of the mouth of Plenty's horn,
Because of her opinionated mind
Barter that horn and every good
By quiet natures understood
For an old bellows full of angry wind? -
Lines 65-72
Considering that, all hatred driven hence,
The soul recovers radical innocence
And learns at last that it is self-delighting,
Self-appeasing, self-affrighting,
And that its own sweet will is Heaven's will;
She can, though every face should scowl
And every windy quarter howl
Or every bellows burst, be happy still. -
Lines 73-80
And may her bridegroom bring her to a house
Where all's accustomed, ceremonious;
For arrogance and hatred are the wares
Peddled in the thoroughfares.
How but in custom and in ceremony
Are innocence and beauty born?
Ceremony's a name for the rich horn,
And custom for the spreading laurel tree.
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“A Prayer for my Daughter” Symbols
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The Laurel Tree
In the poem, the laurel tree symbolizes happiness, security, and prosperity.
The laurel is an evergreen tree native to the Mediterranean. In ancient Rome, it was a symbol of victory and good fortune (people wore laurel wreaths after military victories, for example). It's also commonly linked to poetry (and artistic beauty) itself. Trees more broadly are symbols of stability, tradition (in that they're rooted in one spot), and growth. When the speaker says that he wants his daughter to (metaphorically) "become" a laurel tree, he's drawing on all of these symbolic associations.
Specifically, the speaker prays that his daughter will become "a flourishing hidden tree" and that she will "live like some green laurel / Rooted in one dear perpetual place." This tree speaks to the woman he hopes his daughter will become:
- Strongly rooted (in "one [...] perpetual place");
- Beautiful and pure ("green");
- Protected ("hidden" in a "dear," or precious, "place");
- And generous/prosperous ("flourishing").
The speaker also believes she will become like this laurel through "custom," or tradition, which he says is a name "for the spreading laurel tree." In other words, the speaker links respect for tradition with stability and flourishing beauty. His daughter's future happiness, in turn, will thus also depend on her adherence to "custom"—on being (what the speaker considers to be) a good woman. And again, the fact that this isn't just any tree but a laurel tree emphasizes how much success and joy the speaker wishes his daughter to have.
It's also notable that the image of the daughter as a flourishing laurel tree may itself symbolize the speaker's hopes for the type of nation Ireland will become. Ireland is often represented as a beautiful woman, especially in literature, and Yeats was dedicated to the Irish Nationalist cause. His prayer for his daughter is also, perhaps, a prayer for Ireland herself. The speaker's heartfelt hopes for both are united in the symbol of the "spreading laurel tree."
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The Horn of Plenty
The Horn of Plenty, or cornucopia, is a horn-shaped vessel overflowing with nuts, fruits, flowers, and other wonders of the natural world. It generally symbolizes natural abundance and the blessings of nature. In "A Prayer for my Daughter," it more specifically seems to represent women's natural beauty.
The speaker says that some women who are too beautiful act foolishly, wasting their beauty and "undo[ing]" the Horn of Plenty—that is, wasting all their blessings. Yeats specifically alludes to a Maud Gonne, his longtime love interest, when he mentions "the loveliest woman born / Out of the mouth of Plenty's horn." Gonne, he says, traded the beauty the horn gave her for "an old bellows full of angry wind," likely a reference to John MacBride, the man she married instead of Yeats.
At the end of the poem, the speaker says that "[c]eremony's a name for the rich horn," suggesting that true beauty and prosperity come from the dignity, respect, and order that "ceremony" ensures. In this sense, the speaker hopes his daughter will be blessed by "Plenty's horn" not as Maud Gonne was (with too much physical beauty), but that she will make herself truly beautiful by behaving according to tradition, moderation, and propriety.
The Horn of Plenty may also symbolize the natural resources and cultural richness of Ireland. Yeats was involved in the cause of Irish Nationalism, and the poem was written during the Irish War of Independence. Read in this way, the poem seems to suggest that Ireland's true beauty, like that of the speaker's daughter, also depends on "ceremony," tradition, and restraint.
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The Storm
The storm that is "howling" at the beginning of the poem is an actual storm—the threat to the speaker and his daughter is immediate and real. But the storm also symbolizes the larger challenges of life: the unknown difficulties the speaker's daughter will face in the future.
The speaker spends so much of the first two stanzas emphasizing the destructive terror of the storm because the literal storm raging outside has prompted him to think of the many symbolic storms his newborn daughter will face in her life. The speaker earnestly hopes that his daughter will live a moderate, stable, happy life in which "[a]ssault and battery of the wind"—the many, unpredictable difficulties she will face—won't bring her harm or misery. If she lives a modest, kind, sheltered life of "custom" and "ceremony," the speaker thinks, not even the strongest storm life throws at his daughter will be able to harm her, or "tear the linnet from the leaf."
It's worth noting that the storm also symbolizes the political turmoil of Ireland and the world at large. The poem was written in 1919, just after the end of World War I and the beginning of the Irish War of Independence. The poem thus expresses Yeats's fears of brewing political troubles and his desire that Ireland, like his daughter, follow a path of caution on its way to achieving prosperity.
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“A Prayer for my Daughter” Poetic Devices & Figurative Language
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Alliteration
"A Prayer for my Daughter" contains many examples of alliteration. Take the first two lines, where breathy /h/ sounds suggest the fiercely blowing wind and crisp, brittle /c/ sounds evoke the precarious position of the speaker's daughter:
Once more the storm is howling, and half hid
Under this cradle-hood and coverlidLater in the same stanza, the hard /g/ of "great gloom" makes the speaker's "gloom" all the more "great," that hard /g/ ringing out to the reader's ear.
Alliteration can evoke the poem's imagery as well. For example, in the second stanza, the hissing /s/ of "sea-wind scream" suggests the shriek of the wind over the water, and the thudding /d/ of "Dancing to a frenzied drum" calls forth the emphatic pounding of that metaphorical drum.
Sometimes alliteration also helps create continuity between stanzas, which are otherwise quite self-contained. For example, the third stanza is tied to the fourth by their shared alliteration on the /f/ sound: "find a friend" in line 25 leads right into "found life flat and dull" and then "fool" at the top of the next stanza. This kind of link between the stanzas is appropriate since the speaker presents Helen, in the fourth stanza, as an example of the type of woman he talks about in the third. Such subtle sonic connections also help the poem flow in a broad sense by preventing the stanzas from feeling too disconnected.
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Consonance
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Assonance
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Sibilance
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Metaphor
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Simile
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Polysyndeton
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Paradox
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Rhetorical Question
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Repetition
- See where this poetic device appears in the poem.
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Parallelism
- See where this poetic device appears in the poem.
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Allusion
- See where this poetic device appears in the poem.
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"A Prayer for my Daughter" Vocabulary
Select any word below to get its definition in the context of the poem. The words are listed in the order in which they appear in the poem.
- Gregory's Wood
- Tower
- Reverie
- Looking-Glass
- Helen
- Great Queen
- Spray
- Bandy-Leggèd
- Crazy Salad
- Horn of Plenty
- Linnet
- Magnanimities
- Laurel
- Bridegroom
- Accustomed
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A forest near Thoor Ballylee, the "tower" where Yeats was living with his newborn daughter, Anne, when he wrote the poem.
- See where this vocabulary word appears in the poem.
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Form, Meter, & Rhyme Scheme of “A Prayer for my Daughter”
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Form
"A Prayer for my Daughter" has 80 lines broken up into 10 stanzas. These eight-line stanzas are called octets or octaves (the latter term often refers to the first part of a sonnet, though it can also mean any eight-line stanza). Based on the poem's rhyme scheme, each stanza can be broken down further into two rhymed couplets (AABB) followed by a quatrain, or group of four lines, of enclosed rhyme (CDDC). (More on that in the Rhyme Scheme section of this guide.)
This form gives the speaker plenty of room to express a wide variety of thoughts and moods. Each stanza acts as a self-contained unit, though the stanzas also build on the ones that have come before. Contrasts are often developed within stanzas themselves—as in stanza 2, where the first four lines describe the wind outside, and the last four invoke the speaker's "excited reverie." Likewise, the first half of stanza 3 expresses the speaker's wish that his daughter be beautiful, but not too beautiful. The second half of the stanza explains why he has that wish.
At a larger level, the poem can be divided into three rough sections:
- Stanzas 1 and 2 set the scene, describe the violence of the storm, and express the speaker's "great gloom," which prompts the rest of the poem (the actual "[p]rayer") that follows.
- Stanzas 3 through 8 express some of the speaker's hopes and dreams for his daughter and warn against excess beauty and hateful opinions.
- Stanzas 9 and 10 paint a peaceful and pleasant final picture of the "radical innocence" the speaker hopes his daughter will achieve by following the path of "custom" and "ceremony."
In its progression from the literal, threatening present, to the speaker's hopes for the future, to a peaceful vision of that future fulfilled, the poem expresses the movement of the speaker's mind from fear, to uncertain hope, to peaceful contentment.
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Meter
"A Prayer for my Daughter" follows a more-or-less regular, though fairly complex, metrical pattern. Most lines are written in loose iambic pentameter, a meter composed of five feet that follow an unstressed-stressed syllable pattern. Line 37 is a straight line of iambic pentameter:
For beau | ty's ve- | ry self, | has charm | made wise,
However, lines 4, 6, and 7 of each stanza mostly follow loose iambic tetrameter. This means the feet still follow the unstressed-stressed syllable pattern, but there are only four of them, not five. Line 31 is a good example of iambic tetrameter:
A cra- | zy sa- | lad with | their meat
"A Prayer for my Daughter" follows this general pattern throughout: in each stanza lines 1, 2, 3, 5, and 8 are in iambic pentameter, while lines 4, 6, and 7 are iambic tetrameter.
Things get complicated, however, because Yeats frequently replaces one or more of a line's iambs with another type of metrical foot. These could include trochees (stressed-unstressed), anapests (unstressed-unstressed-stressed), pyrrhics (unstressed-unstressed), or spondees (stressed-stressed).
If all of these funny-sounding feet seem a little intimidating, don't worry! Though the meter of "A Prayer for my Daughter" can seem complex, understanding it isn't hard if you follow your ear and remember the poem's basic metrical skeleton.
Let's take a look at how Yeats varies the meter throughout the poem. Right off the bat, there's some interesting metrical substitution going on in line 1:
Once more | the storm | is howl- | ing, and | half hid
The metrical backbone of the line is iambic pentameter, but a whopping three iambs have been swapped out for other feet! The progression of feet in this line goes like this: spondee-iamb-iamb-pyrrhic-spondee. What's the point of all these metrical shenanigans?
- More than anything, changing the meter like this gives special intensity, focus, and power to the line. The double stress on "Once more" emphasizes that this isn't the first time the storm has howled—and that it won't be the last time either. Starting the poem with that heavy dum-dum also establishes an ominous, somewhat threatening atmosphere.
- The atmosphere created by the spondee, in turn, mirrors the literal and psychological atmosphere the stanza describes. It makes the "great gloom" the speaker feels seem more genuine and urgent (and notice, too, that "great gloom" is itself a double stress!).
- In a similar way, the spondee "half hid" at the end of line 1 underscores the daughter's vulnerability and the speaker's knowledge that he will never be able to fully protect her from the storms of life.
There are many other examples of the poem's metrical flexibility. Line 15, for instance, begins with a strong trochee instead of the usual iamb:
Dancing | to a | fren- | zied drum,
The initial dum-da rhythm gives the whole line a somewhat wild, violent pulse, almost as if the line itself were doing what it says, "[d]ancing to a frenzied drum."
The poem is full of these moments. And, overall, this intense rhythmic variation lets the speaker be more expressive. Because he isn't stuck with the same old strict iambic pentameter, he can speak in a more natural, varied, interesting, and heartfelt way.
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Rhyme Scheme
"A Prayer for my Daughter," like most of W. B. Yeats's poems, follows a regular rhyme scheme. Each eight-line stanza contains two rhymed couplets (AABB) followed by a quatrain of enclosed rhyme (or four lines that follow the CDDC pattern; notice how the inner D rhyme is "enclosed" by the outer C rhyme). The basic rhyme scheme followed by each stanza thus looks like this:
AABBCDDC
Shifting the poem's rhyme scheme in the middle of each stanza reflects the fact that the stanzas themselves often have a sort of shift in tone or content partway through. In stanza 2, for example, the first four lines talk about the violent storm, whereas the latter four talk about the speaker's "excited reverie."
This rhyme scheme enhances the poem's meanings in some subtle ways as well:
- The two rhymed couplets that begin each stanza create a sense of stability, continuity, and cohesion. The closely repeated end rhyme sounds link the lines and lend emotional weight and intensity to what is being said. In the first stanza, for example, the first four lines describe the sleeping child, who is only "half hid" in her cradle, and the few "obstacle[s]" that can stop the destructive wind. The couplet rhymes, which mirror the partial protection of the cradle by neatly dividing the first four lines in half, emphasize both the importance of shelter and its fragility.
- Following the two couplets, the quatrain of enclosed rhyme changes things up a bit. Instead of another pair of rhymed couplets (CCDD), the poem places one couplet inside another (CDDC). This new pattern creates a dynamic sense of openness, change, and even vulnerability.
It's interesting to note that the rhyme scheme of "A Prayer for my Daughter" isn't a standard or traditional one. However, it could be read as a variant of ottava rima, a very traditional rhyme scheme first used in Italian poetry that follows an ABABABCC pattern. Yeats famously used ottava rima in his late poems "Among School Children" and "Sailing to Byzantium." His experimentation with the rhyme scheme of eight-line stanzas in "A Prayer for my Daughter" demonstrates both his loyalty to traditional forms and his willingness to play with them.
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“A Prayer for my Daughter” Speaker
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It's widely accepted that the speaker of "A Prayer for my Daughter" is William Butler Yeats himself. Yeats wrote the poem in 1919, just two days after the birth of his daughter, Anne. At the time, Yeats was living at Thoor Ballylee, a tower in County Galway. Thoor Ballylee is the "tower" referred to in line 10, and "Gregory's wood" is a nearby forest on Lady Gregory's land.
In addition to these real-life details, which strongly suggest that Yeats himself is the poem's speaker, the poem references Maud Gonne, the great love of Yeats's life who rejected his repeated marriage proposals. Gonne is "the loveliest woman born" the speaker mentions in line 59. Gonne rejected Yeats in favor of Major John MacBride, who turned out to be abusive—Yeats refers to him as "an old bellows full of angry wind." These lines about Gonne express Yeats's continued disappointment in her actions; to the speaker, Gonne is like the mythological figures Helen of Troy and Aphrodite, warnings to his daughter of the dangers of hatred, opinionated thoughts, and excessive beauty.
The speaking voice of Yeats in this poem is worried but hopeful. He believes in tradition, moderation, and kindness, and he resents what he sees as the frustrating actions of some beautiful women. However, he also shows genuine, earnest concern for the future well-being of his daughter, as well as that of Ireland and the world at large.
Finally, even though the speaker is widely accepted to be Yeats himself, it's also possible, of course, to read the poem in a more general way—spoken by any parent to an infant daughter. Read in this way, the poem becomes a powerful meditation on the hopes and fears of parenthood.
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“A Prayer for my Daughter” Setting
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"A Prayer for my Daughter" can be read as taking place at Thoor Ballylee, the "tower" in County Galway, Ireland, where Yeats was living when he wrote the poem. A violent storm rages outside, and the speaker (Yeats himself) and his infant daughter take shelter inside the tower. It is here and in this moment that the speaker says his prayer.
Read less literal, the poem's setting can be read as symbolizing Ireland as a whole in the year 1919. Yeats was committed to the cause of Irish Nationalism, and the Irish War of Independence had begun just before he wrote the poem. In this sense, Ireland is threatened by the "storm" of conflict with England, and the poem is concerned not just with the well-being of Yeats and his daughter inside the tower but also with that of all the people of Ireland.
The poem also makes brief excursions to other times and places. The fourth stanza refers to the ancient Greece of Helen and Aphrodite, for example, and the eighth stanza draws on the speaker's complicated past with Maud Gonne, the beauty who rejected Yeats's repeated marriage proposals.
Finally, the poem is dominated—perhaps more than by any other time or place—by the future home of the speaker's daughter. The speaker imagines her as a hidden, flourishing tree who lives a traditional, orderly life of custom and ceremony, perhaps in an aristocratic country house. This hopeful vision sharply contrasts with both the immediate threat the daughter faces from the storm and the unknown, future dangers of the wider world.
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Literary and Historical Context of “A Prayer for my Daughter”
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Literary Context
Yeats wrote "A Prayer for my Daughter" in 1919 and published the poem in his 1921 collection, Michael Robartes and the Dancer. Several other of Yeats's famous poems, including "The Second Coming" and "Easter, 1916," also appeared in that volume. Whereas those poems are somewhat pessimistic and explicitly political, "A Prayer for my Daughter" is more personal and perhaps more peaceful and optimistic. Though it still has political implications, they are secondary to the intimate, heartfelt concern Yeats expresses for his newborn daughter.
"A Prayer for my Daughter" was written during a time of intense innovation and experimentation in literature: James Joyce's Ulysses and T. S. Eliot's "The Waste Land" were both published in 1922, and on the other side of the Atlantic, Wallace Stevens's Harmonium was published in 1923. Modernism, which responded to an increasingly connected and technological world by seeking radically new forms of artistic expression, was the hot movement of the moment.
In a way, the publication of Yeats's Michael Robartes and the Dancer in 1921 set the stage for the Modernist literary revolution of the early 1920s. Yeats strongly influenced Ezra Pound (who served for a time as his secretary), James Joyce, and many other somewhat younger writers, many of them champions of Modernism.
Yet while many Modernist poets championed free verse, Yeats was fiercely loyal to traditional verse forms, rhyme, and meter (though he stretched them in unprecedented ways, as "A Prayer for my Daughter" demonstrates). He was influenced by a somewhat strange mix of Symbolism, Imagism, and spiritualism, and he had a personal and literary interest in the occult. He was also strongly influenced by Romantic poets, such as Percy Bysshe Shelley and William Blake.
Yeats's early work shows an interest in Irish folklore and mythology, and throughout his life, he wrote in a way that was distinctly and proudly Irish. He was the central member of the Irish Literary Revival, a movement that formed in the early 20th century with the goal of enriching and promoting Ireland's literary culture.
In 1923, he won the Nobel Prize for Literature, which cemented his status as the most important Irish writer of the 20th century. He was a towering influence on other prominent Irish writers, including Samuel Beckett and Seamus Heaney, and he continues to influence poets, playwrights, and prose writers in Ireland and far beyond to this day.
Historical Context
Yeats wrote "A Prayer for my Daughter" in 1919, after the end of World War I and the beginning of the Irish War of Independence, which would last until 1921. Many poems of this period (by Yeats and others) are filled with a sense of dread about the state of the world. In "A Prayer for my Daughter," the raging storm might represent the political unrest between Ireland and England, as well as the larger forces of war and conflict that had so recently ravaged Europe. Yeats's prayer for his daughter can thus be read as his prayer for the future of Ireland, too—his hope that it will become a stable, flourishing nation of its own. This hope would soon be fulfilled, and in 1922, Yeats became a senator of the newly formed Irish Free State.
Yet "A Prayer for my Daughter" remains a primarily personal poem about a father's deepest wishes for his newborn daughter. Yeats's daughter, Anne, was born just two days before he wrote the poem. At the time, Yeats was living at Thoor Ballylee, a tower near the estate of Yeats's close friend Lady Gregory. Yeats wrote a poem following the birth of Anne's younger brother, Michael, called "A Prayer for my Son," which was published in his 1928 collection, The Tower. That poem is a kind of companion piece to "A Prayer for my Daughter."
Yeats's lifelong, fraught relationship with Maude Gonne also informs the poem in key ways. Yeats met Gonne, a great beauty and fellow artist and Irish Nationalist, in 1889. They established a close relationship and she became his muse, but she rejected all of his repeated marriage proposals. Gonne eventually married Major John MacBride, though the marriage fell apart in 1906 (the speaker refers to MacBride as "an old bellows full of angry wind").
In 1917, he married Georgie Hyde-Lees (known as George), and in 1919 their first child, Anne, was born, prompting Yeats to write "A Prayer for my Daughter." Though Yeats seemed to have found some happiness with George, "A Prayer for my Daughter" indicates the lingering resentment he felt toward Gonne, who he felt wasted her beauty and brought chaos and suffering into the world.
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More “A Prayer for my Daughter” Resources
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External Resources
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The Irish Literary Revival — An online exhibit about the literary movement defined by W. B. Yeats.
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The Poem Out Loud — Listen to a reading of "A Prayer for my Daughter."
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The Abbey Theatre — A history of the Abbey Theatre, which Yeats founded with his close friend Lady Gregory.
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Yeats's Life and Work — A short biography of William Butler Yeats, along with links to many of his poems.
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Maud Gonne — A short entry about Maud Gonne, who rejected Yeats's repeated marriage proposals and partially inspired "A Prayer for my Daughter."
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LitCharts on Other Poems by William Butler Yeats
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