It is clear from the Chiswick Calendar article that Conrad Shawcross who created this art work was inspired by two of Yeat's poems in particular - Aedh wishes for the clothes of Heaven and The Second Coming. The Second Coming, written in 1919, has always struck me as incredibly powerful and prescient and includes the references to "Turning and turning in the widening gyre". To me at least the art work is an idiosyncratic evocation of a gyre. Others may of course see it differently.Yeats (and his wife) developed a whole philosphy about Life and History that the gyres were an integral part of. In my opinion it is not necessary to try and understand this esoterica to appreciate his poetry but it does help us to understand Shawcross's brilliant work of art that will inspire, confuse and dazzle those that see it for decades to come. I have cut and pasted the whole poem below. Many of you will already be familiar with it - rather sadly it now seems more than ever appropriate;Turning and turning in the widening gyre The falcon cannot hear the falconer;Things fall apart; the centre cannot hold;Mere anarchy is loosed upon the world,The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned;The best lack all conviction, while the worst Are full of passionate intensity.Surely some revelation is at hand;Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus MundiTroubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleepWere vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?
Sam Hearn ● 1471d