Yeats’ poetry is packed with images. He has been called “the chief representative” of the Symbolist Movement in English writing. Surely Yeats utilizes multitudinous images and once in a while he utilizes the same image for distinctive purposes in diverse connection. Regularly he coins images from his investigation of the mysterious, Irish old stories and mythology, enchantment, theory, supernatural, works of art and drawings which are for the most part new to the readers.
Yeats composed an arrangement of rose poems, including “To the Rose Upon the Rood of Time,” “The Secret Rose,” “The Rose Tree” and “The Rose of the World.” For Yeats, the blossom accommodates the twofold of worldly and unceasing. It binds together these ideas in two ways. Initially, the rose keeps up its position as an agent or touchstone of excellence immovably. As it were, roses never go out of style. On the other hand, a real individual rose lives truly a short life. Essentially, the rose symbolizes lady, both heavenly, transcendent lady and regular, sexy lady, and in doing along these lines, brings together them.
Unlike to the rose, the stone image does not bind together contradicted ideas. The stone’s dualism originates from the way that the qualities it speaks to – strength, consistent quality – may be sure or negative. The stone’s faithfulness may demonstrate quality or resolution. Thus, stones regularly figure in poems in which Yeats thinks about his vacillation about Ireland’s political atmosphere. In “Easter 1916,” Yeats depicts a stone in a quickly streaming waterway. In the picture, the stone takes part in a dualism; while the stone never moves, the water never rests. The stone never twists; the water always shows signs of change shape to stream around any deterrents.
Yeats envisioned time not as a line, however as a winding. In a few poems the winding shows up as a slowing down, yet the poet’s most loved picture was a gyre. Gyres are sewing instruments that have transformed conelike shapes, in the same way as that of a tornado. As an image, the gyre portrays history as both dynamic and tedious. Yeats’ most popular reference to the gyre happens in “The Second Coming”: “Turning and turning in the augmenting gyre/ The bird of prey can’t hear the falconer.” In this poem, the deterioration of the gyre indicates the end of time.
Water’s centrality contrasts between poems. Yeats off and on again utilizes it to speak to an alternate world and gives his thoughtfulness regarding species that can move lock stock and done with water: dolphins, which inhale air, and swans that both fly and swim. Yeats places this development in the middle of water and air parallel to development in the middle of life and demise. In both “The Wild Swans at Coole” and “Byzantium,” the speaker is a tired, matured man who is in stunningness of the everlasting life of the water-abiding animals. While Coole Park is a genuine spot, the ocean alongside Byzantium is envisioned by Yeats, and the two poems’ images vary in like manner. The swans, coasting on genuine waters, speak to the unfathomable length of time of nature. The dolphins, swimming in an envisioned ocean, insinuate the Roman myth that dolphins conveyed souls to eternity.