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A Vision: An Explanation of Life Founded upon the Writings of Giraldus and upon Certain Doctrines Attributed to Kusta Ben Luka
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BetaIntroduction-Book 1Chapter Summaries & Analyses
Book 1: “What the Caliph Partly Learned”
Introduction Summary
The narrator, Owen Aherne, recounts a chance meeting with Michael Robartes, a long-lost acquaintance from the past. Their meeting is set against the backdrop of the National Gallery. Robartes seems unchanged by the 30 years that have passed since their last encounter. The two discuss the transformation in art over the years, with Robartes lamenting the loss of passion in modern works. Aherne is taken aback when Robartes asks for the address of Yeats, given their shared disagreement with the poet who fictionalized their lives in his writings. Despite this, Robartes is grateful to Yeats for starting the rumors of his death that allowed him solitude. Robartes then recounts his travels after their last meeting, detailing his journey across Europe and the Middle East. This journey led him to an old book, Speculum Angelorum et Hominorum, and subsequently to the Judwali tribe, whose doctrines echo those in the book. Robartes believes these doctrines have ancient origins, possibly in Syriac traditions. He alludes to the Great Wheel, a symbol of cyclical history and life, hinting at Yeats’s larger metaphysical system explored in the text.
Robartes presents bundles of notes and diagrams that detail various philosophical concepts, including the mathematical law of history and the interaction between the living and the dead. Aherne agrees to help organize these for publication. Their collaboration, however, becomes strained over differing interpretations, with Robartes feeling that Aherne is overlaying a Christian perspective. A particularly heated argument ensues, highlighting their disagreements about Christianity and its historical impact on art and science. They also debate the relationship between faith, moral conviction, and the realization of God. Despite the argument, Robartes arranges a meeting with Mr. Yeats, who becomes intrigued by Robartes’s diagrams. Mr. Yeats agrees to write the exposition under certain conditions, including Aherne’s contribution to the introduction. Robartes then departs for Mesopotamia and remains out of contact. The narrator reflects on Mr. Yeats’s interpretation of the system, suggesting that Yeats may have undervalued certain elements. The passage concludes with a note on the perception of reality, likened to perpetually turning eggs laid by the Phoenix. In the postscript, W. B. Yeats adds a comment suggesting that Mr. Aherne might have remembered his own contributions to the conversation he recounts more accurately than those of his opponent.
Book 1, Chapter 1 Summary: “The Wheel and the Phases of the Moon”
Aherne and Robartes converse about the cyclical nature of human existence, relating it to the moon’s phases. Robartes the transformation and evolution of the soul, emphasizing how experiences mold individuals and comparing these stages to the moon’s crescents. As the moon waxes, individuals pursue challenges, growing and changing, until they reach their full potential, likened to the full moon. As the moon wanes, they start to disintegrate, eventually becoming formless and unformed. The cycle culminates in three final forms, “Hunchback and Saint and Fool” (8), which represent different facets of human existence. Amid this discussion, there’s also a lighthearted moment, as Aherne imagines playing a prank on a scholar, laughing at the complexities of their discourse.
Book 1, Chapter 2 Summary: “The Dance of the Four Royal Persons”
A story unfolds about a Caliph’s quest to understand human nature. After catching a trusted companion betraying him, the Caliph offers a significant reward to anyone who can elucidate human nature to prevent further surprises. Kusta ben Luka, a Christian philosopher who lives in the Caliph’s household, tries to explain using geometrical figures, but the Caliph dismisses him. Soon after, four individuals dressed as royals claim they can explain human nature through a dance. The Caliph finds their dance perplexing and sentences them to death. Each dancer requests that the marks of their footfalls on the sand be preserved. Intrigued by the patterns left behind, the Caliph summons Kusta ben Luka again to interpret the marks. After a lengthy explanation, the Caliph grasps the enigma of human nature. The dancers were Kusta ben Luka’s pupils, dancing the teachings he chose. This dance and the patterns they leave are symbolic of understanding the facets of human existence.
Book 1, Chapter 3 Summary: “The Great Wheel”
The “Great Wheel” categorizes human types into 28 phases based on the lunar phases and the Sun-Moon relationship. These celestial bodies represent objectivity (Sun or primary man) and subjectivity (Moon or antithetical man), creating a dichotomy in how humans perceive things—either clearly or dimly. Every individual embodies a blend of these “Tinctures.”
Humans are composed of Four Faculties: the Will, the Creative Mind, the Body of Fate, and the Mask. The Will and the Mask are influenced by the Moon’s antithetical nature, whereas the Creative Mind and Body of Fate are primary, influenced by the Sun. These faculties interrelate, determining individual character and nature, and their positions on the Great Wheel shift following the dominant phase. The text presents human nature as dualistic and draws parallels with Commedia dell’ Arte. It contrasts the “antithetical” man, who adopts a role opposite to his true nature, with the “primary” man, who assumes traditional roles to please others. As individuals transition through the phases, their “Mask” oscillates between revealing and concealing their true nature. Before Phase 15, the Mask provides self-insight, but post-Phase 15, it conceals a fragmented personality.
The chapter sets out guidelines to discern “True” and “False” Masks and Creative Minds, based on the phase where the “Will” resides. This framework emphasizes the interplay of the inner faculties, revealing their ongoing evolution amidst the tension between personal aspirations and societal expectations. This internal-external tug-of-war defines an individual’s character. Moreover, the intricate metaphysical system includes the “Body of Fate” (15), which mirrors the overarching influence of one’s entire nature on a specific phase. The “Wheel” is further subdivided into elemental quadrants, with each quarter dominated by a different faculty. This schema describes the internal conflicts, emphasizing the interactions among the Will, Mask, Creative Mind, and Body of Fate. Life is a pursuit of both deliberately chosen and fate-driven images.
The chapter then elaborates on the relationship between man and his “Daimon,” a spiritual counterpart, underscoring the notion of dual minds—one in light and the other in the shadow. Their intertwined connection suggests a blend of fate and free will. The ultimate aspiration is to attain “Unity of Being,” a state wherein destiny and autonomy merge. This unity waxes and wanes based on an individual’s phase, with certain stages permitting unity with the divine or nature. The entire system also resonates with solar symbolism, juxtaposing light and dark facets.
The notes to the chapter clarify terminology choices, explaining the replacement of “creative genius” with “Creative Mind” and “Ego” with “Will.” The notes also lay out various interpretations of light and dark and justify the division of tables into 10 segments instead of 12.
Book 1, Chapter 4 Summary: “The Twenty-Eight Embodiments”
Chapter 4 details the cyclical nature of human experience as it progresses through distinct phases that embody different characteristics and worldviews. Phase One emphasizes moral existence, the duality of human nature, and the appreciation of simplicity. By Phase 14, individuals confront the balance between instinct and intellect, societal norms versus personal beliefs, and self-identity. Yeats uses iconic figures like Walt Whitman, Baruch Spinoza, Faust, and the Irish nationalist leader Charles Stewart Parnell as touchstones for these phases, spotlighting the evolution of consciousness.
From Phases 15 to 24, individuals traverse a complicated journey of self-discovery. They wrestle with will, fluctuating creativity, and the search for harmony. Figures like Dante, Percy Bysshe Shelley, Johann von Goethe, Oscar Wilde, William Shakespeare, Napoleon, Gustave Flaubert, Fyodor Dostoyevsky, Rembrandt, and J. M. Synge exemplify these phases, each reflecting the unique tensions and aspirations of their respective stages. These phases highlight a recurrent theme of balancing personal desires with societal expectations while seeking self-realization.
By Phase 25, the Conditional Man emerges, advocating for societal norms rooted in a passion for a defined notion of “good.” Figures such as Martin Luther, English poet George Herbert, and Irish nationalist, poet, and theosopher George William Russell bring depth to this phase. Phase 27, representing “The Saint,” emphasizes spiritual authority, with individuals grappling with the “Emotion of Sanctity” (92). The essence of this phase is captured in the quote, “Man does not perceive the truth; God perceives the truth in man” (93).
The subsequent phases introduce the Multiple Man or “The Hunchback” in Phase 26, and “The Fool” in Phase 28. The former distances from societal norms, while the latter, ranging from a village fool to Shakespeare’s characters, symbolizes detachment from worldly concerns. Phase 1 introduces a sense of plasticity, bridging the living and supernatural realms.
The chapter ends by referencing a private book and noting nuances in the works of eminent authors, suggesting layers of the system waiting to be explored.
Introduction-Book 1 Analysis
The recurring idea of cyclical patterns in history and life permeates Book 1 of A Vision. From the detailed discussions of the moon’s phases to the introduction of the “Great Wheel,” Yeats stresses that human experiences and history do not progress linearly, but rather in undulating waves of progress and regression. Like the moon, which waxes and wanes, human souls experience peaks of enlightenment followed by troughs of disillusionment. This perspective serves as a metaphorical response to the transformations of Yeats’s time, highlighting the theme of Cyclical Patterns in Dialogue With Modernism and Ancient Traditions. A Vision proposes that constant change and societal upheaval can be understood by accepting these fluctuations as natural and inevitable. By presenting the fluctuations of human history and experiences as akin to the cycles of the moon, Yeats suggests that the apparent chaos and disorder of his era were part of a comprehensible and even predictable cosmic rhythm.
The societal transformations Yeats witnessed were not limited to Ireland. The wider world was undergoing rapid change too: Industrialization was reshaping societies and economies; World War I had redefined the very concept of warfare, resulting in unprecedented loss and disillusionment; and traditional societal norms and hierarchies were being challenged everywhere, from the suffragette movement in Britain to the Harlem Renaissance in the US. A Vision’s cyclical metaphysics proposes that just as the darkest phase of the moon is followed by a waxing crescent, so too will periods of societal darkness and chaos be followed by enlightenment and renewal. This perspective reframes the tumult of Yeats’s time not as an aberration but as a predictable, even necessary, phase in the eternal dance of progress and regression. Moreover, this cyclical view of history offers an empowering lens for individuals feeling overwhelmed by societal upheavals. By understanding their challenges as part of a broader pattern, individuals can find solace in the idea that they are not alone in their struggles, and that brighter times might be on the horizon.
In shaping his philosophy, Yeats draws on numerous cultures and philosophies throughout history that have conceived of human history and the cosmos as cyclical. Ancient civilizations, from the Mayans, with their intricate calendar systems, to the Egyptians, with their solar and agricultural rituals, have recognized the cyclical nature of time. The Hindu concept of Yugas, which describes epochs of cosmic evolution, and the Buddhist cycle notion of birth, life, death, and rebirth, both exemplify this understanding. Likewise, the Celtic calendar, with its celebrations marking the solstices and equinoxes, acknowledges the repeating patterns of nature. This deep-seated belief in cyclical patterns reflects observations of the intrinsic rhythms of life on Earth. The changing seasons, the lunar phases, the life cycles of countless organisms—all are testament to the inherent cyclical processes that govern the world. Recognizing and understanding these patterns provides a connection to the natural world and an appreciation for the continuity of life, where endings are often new beginnings.
Intertwined with these cyclical patterns is the theme of the Interplay of Duality and Unity. A Vision establishes and explores an extensive and complex set of dichotomous pairs in Book 1. The foundational dyad is the sun and moon, which represent objectivity and subjectivity. The dichotomy between the primary man and the antithetical man hints at the perennial conflict between societal expectations and innate human nature. The Will and the Mask emphasize the tension between an individual’s internal desires and their external presentation. This theme reflects Yeats’s broader views on the complexities of human nature and the conflicts that arise in the push and pull between the individual and society.
Book 1 also traces the journey of the soul through life and beyond. The “Daimon,” a spiritual entity that guides the human soul through its metaphysical evolution, points to the existence of a higher consciousness and the intertwining of fate with free will. Phases with names like “The Saint” and the “Emotion of Sanctity” indicate that one goal of the soul’s journey is to achieve a spiritual zenith (92), where one resonates with divine truths. Yeats implies that a “true” understanding of the universe is a blend of destiny and individual endeavor.
Furthermore, Yeats does not shy away from commenting on The Nature of Art and the Role of the Artist. Aherne’s initial discussions with Robartes lamenting the loss of passion in modern art hint at a nostalgia for the fervor of past artistic endeavors. The use of iconic figures from literature and history to illustrate various phases suggests that artists and their works are products of their times yet also influence societal perspectives. This is Yeats’s nod to the power and responsibility that artists bear in shaping and reflecting cultural paradigms, and an echo of Celtic bardic tradition, in which the “artist” was a significant member of society charged with preserving the memory of their culture.
Lastly, the evolution of the soul alludes to Yeats’s belief in human potential and transformation. The journey from the initial phase, emphasizing moral existence, to the concluding phases of the Hunchback and the Fool, indicates the vast spectrum of human experiences and the potential for growth, transformation, and even regression. This evolution, or sometimes devolution, is simultaneously a personal journey and intrinsically tied to societal norms, expectations, and collective consciousness.
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