The Full Text of “September 1913”
1What need you, being come to sense,
2But fumble in a greasy till
3And add the halfpence to the pence
4And prayer to shivering prayer, until
5You have dried the marrow from the bone;
6For men were born to pray and save:
7Romantic Ireland’s dead and gone,
8It's with O'Leary in the grave.
9Yet they were of a different kind,
10The names that stilled your childish play,
11They have gone about the world like wind,
12But little time had they to pray
13For whom the hangman's rope was spun,
14And what, God help us, could they save?
15Romantic Ireland's dead and gone,
16It’s with O'Leary in the grave.
17Was it for this the wild geese spread
18The grey wing upon every tide;
19For this that all that blood was shed,
20For this Edward Fitzgerald died,
21And Robert Emmet and Wolfe Tone,
22All that delirium of the brave?
23Romantic Ireland's dead and gone,
24It's with O'Leary in the grave.
25Yet could we turn the years again,
26And call those exiles as they were
27In all their loneliness and pain,
28You'd cry, "Some woman's yellow hair
29Has maddened every mother's son":
30They weighed so lightly what they gave.
31But let them be, they're dead and gone,
32They're with O'Leary in the grave.
The Full Text of “September 1913”
1What need you, being come to sense,
2But fumble in a greasy till
3And add the halfpence to the pence
4And prayer to shivering prayer, until
5You have dried the marrow from the bone;
6For men were born to pray and save:
7Romantic Ireland’s dead and gone,
8It's with O'Leary in the grave.
9Yet they were of a different kind,
10The names that stilled your childish play,
11They have gone about the world like wind,
12But little time had they to pray
13For whom the hangman's rope was spun,
14And what, God help us, could they save?
15Romantic Ireland's dead and gone,
16It’s with O'Leary in the grave.
17Was it for this the wild geese spread
18The grey wing upon every tide;
19For this that all that blood was shed,
20For this Edward Fitzgerald died,
21And Robert Emmet and Wolfe Tone,
22All that delirium of the brave?
23Romantic Ireland's dead and gone,
24It's with O'Leary in the grave.
25Yet could we turn the years again,
26And call those exiles as they were
27In all their loneliness and pain,
28You'd cry, "Some woman's yellow hair
29Has maddened every mother's son":
30They weighed so lightly what they gave.
31But let them be, they're dead and gone,
32They're with O'Leary in the grave.
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“September 1913” Introduction
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W. B. Yeats's "September 1913" condemns the political complacency of the Irish middle class and challenges readers to reflect on the examples set by revolutionaries who fiercely fought for Ireland's independence from Britain. Though Yeats was a devoted Irish nationalist, this poem mourns the possibility of an Ireland true to his romantic ideals and wonders if those earlier revolutionaries' sacrifices were in vain. Yeats first published "September 1913," originally titled "Romance in Ireland," in The Irish Times; it was later collected in Responsibilities (1914).
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“September 1913” Summary
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What else could you possibly need to do, having come to your senses, besides drop some coins into the dirty register and make weak little prayers until you've shriveled up and died? After all, that's what life's about: praying and saving. The dream of a truly "Irish" national culture is over, buried alongside the Irish revolutionary John O'Leary (who died in 1907).
Revolutionaries like O'Leary were made of different stuff than you are. Hearing their names made you stop playing and listen when you were a child. They fluttered all around the world but didn't have much time for prayer, those men whose lives were cut short when they were hanged (i.e., as traitors by the English authorities). And, oh God, it's not like they were able to save anything, is it? Their dream for Ireland is over, buried alongside John O'Leary.
Was this—the Ireland of today—why so many Irish revolutionaries went into exile abroad, like geese flying out to sea? Does this justify all those years of fighting, or the deaths of martyrs like Edward Fitzgerald, an Irish nobleman who died after an unsuccessful insurrection in 1798; Robert Emmet, who was executed after leading an uprising in 1803; or the heroic Wolfe Tone, who was also killed in 1798? What happened to all that courage, a commitment so intense it could seem almost crazy? The revolutionaries' dream for Ireland is over, buried alongside John O'Leary.
If we could turn back time and summon into the present day those revolutionaries who were tormented by the extraordinary strength of their beliefs, you would simply dismiss their passion. Instead of recognizing the depth of their convictions, you would claim that they were madly in love with some yellow-haired woman and that they had foolishly thrown their lives away. It's better to just leave those men alone and not trouble their memories: their time is past and they're dead, just like John O'Leary.
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“September 1913” Themes
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Money, Religion, and Political Complacency
The speaker of "September 1913" has an ax to grind with readers about the state of Irish politics. This speaker (a stand-in for the poet W.B. Yeats, a staunch Irish nationalist) contrasts their self-interested and dutifully religious countrymen with famous Irish revolutionaries who died trying to free Ireland from British rule. The poem implies that greed, materialism, and the suffocating influence of the Catholic Church have made the emerging Irish middle class complacent, both unable and unwilling to bring about the cultural and political revolution that the speaker longs for.
In a series of bitter rhetorical questions addressed directly to the reader, the speaker skewers the character of their middle-class audience. The speaker suggests that these people have no desire for anything beyond their self-centered, workaday lives, which consist of accumulating a little money and counting the rosary. In other words, they devote their time to financial matters and fulfilling religious duties.
The small amounts of money they transact (the "halfpence" and the "pence" sorted in the "greasy" register) and the sickly "shivering prayer" they make are a pittance, resulting in neither real wealth, nor power, nor spiritual fulfillment. Basically, they’re just petty, mind-numbing distractions from what really matters to the speaker. The speaker plays on a double meaning when they say, sarcastically, that "men were born to pray and save." Compared to the dream of political independence, the speaker sees little value in spending one's life saving souls or saving money.
Indeed, these pathetic priorities stand in stark contrast to the deeds of notable Irish revolutionaries like Edward Fitzgerald, Robert Emmet, and Wolfe Tone, and "the wild geese" (Irish insurgents in exile), who fought against impossible odds and died for their political beliefs. Even the most celebrated Irish martyrs ("for whom the hangman’s rope was spun") had "little time […] to pray," the speaker says, since the lives of those committed to the cause (of a free Ireland) were often cut short. Their faith was in the future of the nation—not the Church or their bank accounts. Materialism and excess piety are mere distractions from what really matters to the speaker: revolutionary change.
- See where this theme is active in the poem.
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The Loss of Idealism and Romantic Ireland
The speaker of 1913 has given up on the dream of "Romantic Ireland": a fully independent nation, rich with myth and history, and not tied to a single religion. According to the poem's refrain, this Ireland died with John O'Leary, well-known in Yeats's day for his commitment to a secular Irish state. Men like O'Leary "were of a different kind" than the speaker’s contemporaries, who the poem argues do not have the vision, principles, or will to truly liberate their homeland. Their complacency, the speaker laments, fails to justify the sacrifices of those who fought and died for Ireland's independence. Even a quintessential figure of "Romantic Ireland" would go unrecognized by the speaker's contemporaries, who would look down on the idealism of those revolutionaries of old if they were alive today.
The speaker argues that their countrymen fail to measure up to the great Irish revolutionaries of the past. Those men were motivated by their ideals to travel around the world and fight against impossible odds to free Ireland. Even though they understood that they would eventually be killed, they were totally committed to the cause. They were selfless and self-sacrificing, unlike the people of modern Ireland.
What's more, the modern Irish people would probably scorn and dismiss those men for their commitment to the cause if they were around today (that is, in the poem's present). Because the speaker's audience can't fathom the old revolutionaries' love for a free Ireland, they'd criticize the men's willingness to die and condemn them for valuing their own lives so "lightly." The intense, idealistic patriotism of the past seems like outright "delirium" to the speaker's contemporaries.
To illustrate this, the speaker refers to the mythical figure Kathleen ni Houlihan, a personification of Romantic Ireland who often appears in art and literature as a beautiful, fair young woman. The speaker expects that "you" would mistake her for just "some woman" with "yellow hair" who had seduced "those exiles." "You" couldn't even recognize Kathleen ni Houlihan, let alone appreciate what she represents: the kind of idealism and sacrifice that spur revolutionary change.
The speaker's refrain ("Romantic Ireland's dead and gone") sounds like a foregone conclusion—but, by holding up a mirror to the audience's complacency, it just might be the thing that inspires them to act. The poem thus issues an implicit challenge to its readers: who might rise to the occasion and prove the speaker wrong?
- See where this theme is active in the poem.
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Line-by-Line Explanation & Analysis of “September 1913”
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Lines 1-5
What need you, being come to sense,
But fumble in a greasy till
And add the halfpence to the pence
And prayer to shivering prayer, until
You have dried the marrow from the bone;"September 1913" begins with the first of several rhetorical questions addressed directly to the reader ("you"). Right away, the speaker's tone is aggrieved and antagonistic: this opening question is an interrogation of readers' values and principles.
Yeats has a specific audience in mind: the Irish middle class in the early 20th century, scathingly described here as "sens[ible]" folks who have no "need" apart from adding up small change and counting the rosary until they die. (In the Catholic tradition, a string of beads is sometimes used to help keep track of how many prayers a person has said.)
It's clear from the language that the speaker looks down on these activities. They describe the till, or cash register, as "greasy," suggesting that maybe there's something ill-gotten about the money that's going inside. It's not a lot of money, either, implying that these people are both greedy and petty. The diacope of the phrase "prayer to shivering prayer," meanwhile, suggests that their religious piety is done thoughtlessly, out of dogged obligation rather than genuine faith. The readers are piling up their prayers much like they "add" coins to the "greasy till," as though trying to bank some goodwill with God. The word "shivering" further suggests that these prayers are weak, ineffective, or sickly.
Making money and putting on empty displays of piety don't count for much, as far as the speaker is concerned. In fact, they're life-sapping: the metaphor in lines 4-5 implies that a focus on material things and Christian salvation actually results in the vital "marrow" of life being dried out, leaving nothing but a hollow, brittle bone behind.
The sounds of the poem help to build its acerbic tone. For example, note how the plosive /p/ alliteration of "halfpence to the pence [...] prayer to shivering prayer" help to convey the speaker's bitter distaste.
Most of the poem also follows perfect iambic tetrameter (four-beat lines that follow the rhythm da-DUM, da-DUM), lending it a precise, snappy rhythm. The opening line, however, features a variation in the meter. The second foot here is a spondee (two stressed beats in a row). This combines with the caesura, or pause, after "you" to unsettle the reader:
What need | you, be- | ing come | to sense
The extra emphasis on "you" implicates the audience from square one. This isn't an abstract second-person address. Again, the speaker has a particular person, or group of people, in mind.
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Lines 6-8
For men were born to pray and save:
Romantic Ireland’s dead and gone,
It's with O'Leary in the grave. -
Lines 9-16
Yet they were of a different kind,
The names that stilled your childish play,
They have gone about the world like wind,
But little time had they to pray
For whom the hangman's rope was spun,
And what, God help us, could they save?
Romantic Ireland's dead and gone,
It’s with O'Leary in the grave. -
Lines 17-24
Was it for this the wild geese spread
The grey wing upon every tide;
For this that all that blood was shed,
For this Edward Fitzgerald died,
And Robert Emmet and Wolfe Tone,
All that delirium of the brave?
Romantic Ireland's dead and gone,
It's with O'Leary in the grave. -
Lines 25-32
Yet could we turn the years again,
And call those exiles as they were
In all their loneliness and pain,
You'd cry, "Some woman's yellow hair
Has maddened every mother's son":
They weighed so lightly what they gave.
But let them be, they're dead and gone,
They're with O'Leary in the grave.
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“September 1913” Poetic Devices & Figurative Language
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Allusion
"September 1913" contains many allusions to Ireland's revolutionary martyrs, which drive the poem's social and political critique of modern Ireland. While it can be difficult to appreciate the political implications of this poem today, the historical figures whose names appear throughout the poem would have been immediately recognizable to Yeats's Irish audience at the time. Remember that this was a poem intended to be read by the general public and that it originally appeared in a newspaper. The Irish historical figures whom the speaker name-drops throughout the poem were revered in the popular imagination. The speaker uses these men's names as a shorthand for courage, sacrifice, and true commitment to the struggle for Irish independence.
The speaker specifically names three revolutionaries:
- Edward Fitzgerald, an Irish nobleman who died in prison after an unsuccessful insurrection in 1798.
- Wolfe Tone, who was also killed in 1798 after being captured by the British navy while trying to land French troops in Ireland. Tone had been sentenced to hanging but died of a (likely self-inflicted) throat wound before the sentence could be carried out.
- Robert Emmet, who was executed after leading an uprising in 1803.
The mention of "wild geese" in line 17, meanwhile, alludes to Irish-Catholic soldiers who left Ireland to fight for armies on the European continent, as well as exiled Irish revolutionaries.
By invoking these figures, the speaker calls to mind episodes, from the Irish Rebellion of 1798 through the end of the 19th century, when individuals facing terrible odds nevertheless rose up and attempted to overthrow their English overlords. In doing so, the speaker implicitly and explicitly asks readers to think about how they compare to these brave men. Are they (readers) brave enough to do what's right and support the cause of Irish Nationalism, even if the struggle is inconvenient or politically unpopular?
Not all of the speaker's allusions are so overt, however. In line 28, the speaker mentions a fair-haired woman:
You'd cry, "Some woman's yellow hair
has maddened every mother's son":This is a veiled reference to the mythical figure Kathleen ni Houlihan. Though she often appears in art and literature as an old crone, she sometimes reveals herself as a beautiful young queen with golden hair—Romantic Ireland personified.
In a tricky twist, Yeats's speaker hypothesizes that members of the audience wouldn't recognize the genuine dedication the old Irish heroes had for the dream of Irish liberation, but counts on readers to appreciate the significance of "some woman's yellow hair." Just as Kathleen ni Houlihan takes the measure of unsuspecting Irish men and women, Yeats's speaker tests readers' familiarity with the more mythological dimensions of Irish nationalism.
- See where this poetic device appears in the poem.
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Irony
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Rhetorical Question
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Juxtaposition
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Repetition
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"September 1913" 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.
- Till
- Halfpence
- Pence
- Marrow
- O'Leary
- Stilled
- Wild geese
- Edward Fitzgerald
- Robert Emmet
- Wolfe Tone
- Delirium
- Maddened
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A cash register or secure drawer where money is stored in a shop.
- See where this vocabulary word appears in the poem.
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Form, Meter, & Rhyme Scheme of “September 1913”
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Form
"September 1913" consists of four octaves (eight-line stanzas). The poem's alternating rhyme scheme breaks these octaves into two quatrains.
The poem could also be considered a modified ballade. The traditional ballade is a French lyric form made up of three eight-line stanzas followed by a shorter four-line stanza called an envoi. As in this poem, the last line of each stanza—the refrain—is always the same.
In this case, the refrain actually spans the final two lines of each stanza. And instead of ending with a quartet, Yeats keeps the fourth and final stanza eight lines long. Broadly speaking, the refrain makes the poem feel somewhat circular: the poem ends in much the same place that it began, echoing the futile cycle of failed Irish rebellions.
Yeats does very slightly modifies the opening words of the final refrain, as, with a kind of sigh, the speaker exhorts the reader to leave the spirits of the great Irish revolutionaries at peace. This subtle variation works like an envoi to summarize the speaker's argument and prepare the reader for the end of the poem.
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Meter
"September 1913" is written in a consistent iambic tetrameter. In this meter, each line contains four iambs (metrical feet consisting of an unstressed syllable followed by a stressed syllable), for a total of eight syllables. This meter is the poem's steady, rhythmic heartbeat, as readers can hear in lines 2-3:
But fum- | ble in | a grea- | sy till
And add | the half- | pence to | the penceLike many writers of metrical verse, Yeats will sometimes introduce some variation into the meter, most commonly by inverting the metrical foot at the start of a line. A little bit of variation keeps the meter interesting; it also allows the writer to play with emphasis or create tension between two or more ideas. The opening line of "September 1913," for example, is a bit complicated metrically, even a little awkward:
What need you, || being come | to sense,
Meter can be somewhat subjective, and different readers will find different ways to divvy up the line; some might scan those first three beats as "What need you," for example. In any case, the caesura, or pause, after "you" allows for extra stress on this word—and thus on the poem's addressee. It also has the effect of unsettling, even disarming the reader, since it starts them off (literally) on the wrong foot.
Elsewhere, perfectly iambic lines, like the refrain "Roman- | tic Ire | land's dead | and gone," take on the quality of a truism, or aphorism; it's hard to argue with iambic tetrameter.
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Rhyme Scheme
Each of the poem's octaves, or eight-line stanzas, can be divided into two quatrains that each follow the same basic rhyme scheme:
ABABCDCD
The rhyme scheme is not interlocking (the rhymes in the second quatrain don't echo those in the first). In this way, the rhyme scheme creates two distinct halves within each stanza, often comprising two related ideas, questions, or images.
The majority of the rhymes in the poem are full rhymes (also called "perfect" or "exact" rhymes; for example, "sense"/"pence" or "save"/"grave"). A slant rhyme does appear in every stanza, however, always involving the word "gone"—part of the poem's refrain: "bone"/"gone," "spun"/"gone," "Tone"/"gone," and "son"/"gone."
The variation is subtle (the final consonants always match, but the vowel sound is slightly off, as in "bone" and "gone"). One effect of this is to distinguish the sound of the refrain within the second quatrain. Even though the refrain repeats four times, it always sounds slightly different because it doesn't entirely line up with what readers expect to hear.
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“September 1913” Speaker
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The speaker of "September 1913" has a clear political agenda that aligns closely with W.B. Yeats's own brand of Irish nationalism. The speaker voices Yeats's own frustrations with a reading public easily distracted by money and religion and resistant to the revival of the Irish arts (a project Yeats saw as central to the creation of a national identity independent from Britain). Whether or not one goes so far as to say that the speaker is Yeats, the two are closely linked.
The speaker is defined by their political opinions and their antagonistic relationship with the poem's audience. In stanza 1, the speaker displays tremendous scorn for (what they deem) the materialistic, overly pious Irish middle class (of which they don't consider themselves a part). They fixate on the loss of "Romantic Ireland" and are closely aligned with Romantic values like passion, idealism, and a devotion to beauty and art.
In the speaker's mind, Romantic Ireland is exemplified by John O'Leary: a leading Irish separatist who died in 1907, only a few years before this poem was written. Stanza 3 provides more examples of other Irish nationalist heroes the speaker holds in high esteem. The speaker doesn't go so far as to identify with these men, however, referring to them as "they" (while saying "we" when talking about the people of modern Ireland). In stanza 4, a veiled reference to Kathleen ni Houlihan reveals the speaker's familiarity with the rich Irish mythological tradition.
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“September 1913” Setting
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The title of the poem tells readers a good deal about its setting: it is September 1913. The poem is addressed to the people of Ireland, and the historical events referenced by the speaker all take place in Ireland as well.
The poem offers little else to help orient readers. Images of commerce in stanza 1 probably locate the poem, or the objects of the speaker's ire, in a city like Dublin or Cork. (Notably absent from the poem are pastoral images of the rural Irish countryside.) The poem leads readers to understand that this a period of political dysfunction and inaction, and a point in time without much genuine revolutionary activity. However, without additional context, the poem doesn’t reveal anything specific about the significance of the date, or what exactly inspired the poem’s narrator to speak out.
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Literary and Historical Context of “September 1913”
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Literary Context
W. B. Yeats (1865-1939) is widely considered the most influential Irish poet in modern history. He played a vital role in the Irish Literary Revival (also called the Celtic Twilight), which championed a renewed interest in Irish and Gaelic literature, language, history, and culture, all of which had been suppressed by English colonization. This revival was a key part of the Irish push for autonomy, leading to its eventual rebellion and the achievement of an independent Irish state in 1924.
Until he published Poems in 1895, much of Yeats's early literary success actually stemmed from his work as a folklorist. Yeats published five volumes on traditional Irish storytelling between 1888 and 1891, beginning with Folk Tales of the Irish Peasantry, which featured stories Yeats had solicited from poor farmers in the countryside.
Yeats's abiding interest in folklore was connected to the Romantic belief that rural cultures had special wisdom that modern societies lacked. Yeats was strongly influenced by English Romantics like Wordsworth and Blake, writers who also emphasized intuitive forms of knowledge, imagination, and the mystical power of the unknown. Like the English Romantics (and, across the pond, the American Transcendentalists), Yeats felt science, rationalism, and materialism often obscured more authentic forms of experience and prevented genuine self-knowledge and self-expression.
Yeats was also convinced that centuries of colonial rule had robbed Ireland of a distinct literary tradition. British suppression of the Irish language, the Great Famine (which killed over a million people), and widespread emigration had left few native Irish speakers to carry on the oral traditions. Moreover, Yeats believed that literature was central to the development of national identity. If Ireland was to become an independent, modern state, it needed its own culture, one that was distinct from the colonial English regime. Yeats wrote, in 1889, “there is no fine nationality without literature, and [...] no fine literature without nationality." This notion was central to Yeats's conception of "Romantic Ireland," and Yeats worked tirelessly to build a robust, "Celtic" literary culture in Ireland, particularly in theater.
"September 1913" was one of several poems that Yeats published in sequence in The Irish Times, and then republished privately through his sisters' independent press as a small booklet called Poems Written in Discouragement, 1912-1913. Though "September 1913" offers a critique of the entire Irish professional class, Yeats hoped these poems would sway one reader in particular: Arthur Edward Guinness, the 1st Baron Ardilaun. In a letter to the influential Lady Gregory, Yeats wrote, "There is just the unlikely chance the Irish Times comment, if not the poem, may reach Ardilaun. What might seem offensive in a letter or article will not do so in a poem…"
Historical Context
W.B. Yeats was an Irish nationalist—that is, he believed that Ireland, which at the time was ruled by Great Britain, should be a sovereign nation directly under the control of the Irish people. The majority-Catholic Irish population had struggled to resist English colonial rule ever since Ireland was reconquered in the middle of the 17th century. By 1913, Yeats (who was Anglo-Irish) was particularly concerned that true independence was impossible without a uniquely Irish artistic tradition. Without this, there would be no way for the Irish people to distinguish themselves culturally from Britain. His contributions to the Celtic Revival included the foundation of a national theater (The Abbey) in 1904 and numerous plays.
The poems from Yeats's 1913 booklet, Poems Written in Discouragement, including "September 1913," were republished in his 1914 collection, Responsibilities. With its new focus on social issues, Responsibilities marked a turn in Yeats's writing away from the dreamy and mythological towards simplicity and realism. In Discouragement and Responsibilities, Yeats was responding to three major public controversies.
- The first was the disgrace of the Irish nationalist leader Charles Stewart Parnell, whose career and reputation were ruined by a scandal surrounding an extramarital affair. Yeats's poem, “To a Shade,” which also appears in Discouragement and Responsibilities, defends Parnell's legacy.
- The second was the so-called "Playboy Riots." In 1907, Yeats's theater, The Abbey, produced a new play by John Millington Synge called The Playboy of the Western World. Nationalist and Catholic audiences were so offended by the play’s portrayal of the Irish peasantry that riots broke out in Dublin around the theater. Yeats's poem "On Those That Hated 'The Playboy of the Western World,' 1907," addresses that incident directly.
- But "September 1913" is predominantly a response to the Hugh Lane controversy. Hugh Percy Lane (1875-1915) was a modern art dealer known for collecting works by French Impressionists, including Claude Monet and Pierre-Auguste Renoir. He founded the Municipal Gallery of Modern Art in Dublin in 1908, but the city government rejected his plans in September 1913. Popular opposition to the Gallery came from upper- and middle-class Dubliners who resented the idea of their taxes going to an art gallery instead of alleviating widespread poverty in the city. It also came from moralists who felt that the modernist paintings in Lane's collection would be inappropriate for the Irish public.
Yeats was sympathetic to the idea that Dublin simply couldn't afford the cost of the Gallery but opposed the handwringing about the works' morality.
Moreover, Yeats was responding to accusations that wealthy Anglo-Irish (that is, Protestant) elites like himself were attempting to take charge of Irish national culture. In "September 1913," Yeats reminds readers that both Catholics (like Wolfe Tone) and Protestants (like Edward Fitzgerald) have fought for "Romantic Ireland." While his critique is aimed at the Catholics who rejected Playboy and the Hugh Lane Gallery, Yeats always emphasizes the shared cultural inheritance of the Irish people.
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More “September 1913” Resources
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External Resources
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The Poet's Life and Work — Read a short biography of Yeats at the Poetry Foundation.
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"A Poet Discouraged" — A close look at Yeats's response to the controversy surrounding the Hugh Lane Gallery in Dublin.
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The Irish Times, September 1913 — An article commemorating the 100-year anniversary of "September 1913" in The Irish Times.
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"Romance In Ireland" — Read the original text of "September 1913" as it first appeared on Monday, September 8, 1913 in The Irish Times.
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LitCharts on Other Poems by William Butler Yeats
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