The Project Gutenberg eBook of Michael Robartes and the dancer This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Michael Robartes and the dancer Author: W. B. Yeats Release date: February 18, 2024 [eBook #72987] Language: English Original publication: Dublin: The Cuala Press, 1920 Credits: Christopher Hapka. (This file was produced from images generously made available by The Internet Archive.) *** START OF THE PROJECT GUTENBERG EBOOK MICHAEL ROBARTES AND THE DANCER *** MICHAEL ROBARTES AND THE DANCER By William Butler Yeats THE CUALA PRESS CHURCHTOWN DUNDRUM MCMXX CONTENTS Preface Michael Robartes and the Dancer Solomon and the Witch An Image from a Past Life Under Saturn Easter, 1916 Sixteen Dead Men The Rose Tree On a Political Prisoner The Leaders of the Crowd Towards Break of Day Demon and Beast The Second Coming A Prayer for My Daughter A Meditation in Time of War To Be Carved on a Stone at Ballylee Notes PREFACE A few of these poems may be difficult to understand, perhaps more difficult than I know. Goethe has said that the poet needs all philosophy, but that he must keep it out of his work. After the first few poems I came into possession of Michael Robartes’ exposition of the _Speculum Angelorum et Hominum_ of Geraldus, and in the excitement of arranging and editing could no more keep out philosophy than could Goethe himself at certain periods of his life. I have tried to make understanding easy by a couple of notes, which are at anyrate much shorter than those Dante wrote on certain of his odes in the _Convito_, but I may not have succeeded. It is hard for a writer, who has spent much labour upon his style, to remember that thought, which seems to him natural and logical like that style, may be unintelligible to others. The first excitement over, and the thought changed into settled conviction, his interest in simple, that is to say in normal emotion, is always I think increased; he is no longer looking for candlestick and matches but at the objects in the room. I have given no account of Robartes himself, nor of his discovery of the explanation of Geraldus’ diagrams and pictures in the traditional knowledge of a certain obscure Arab tribe, for I hope that my selection from the great mass of his letters and table talk, which I owe to his friend John Aherne, may be published before, or at any rate but soon after this little book, which, like all hand-printed books will take a long time for the setting up and printing off and for the drying of the pages. W. B. Yeats. MICHAEL ROBARTES AND THE DANCER HE Opinion is not worth a rush; In this altar-piece the knight, Who grips his long spear so to push That dragon through the fading light, Loved the lady; and it’s plain The half-dead dragon was her thought, That every morning rose again And dug its claws and shrieked and fought. Could the impossible come to pass She would have time to turn her eyes, Her lover thought, upon the glass And on the instant would grow wise. SHE You mean they argued. HE Put it so; But bear in mind your lover’s wage Is what your looking-glass can show, And that he will turn green with rage At all that is not pictured there. SHE May I not put myself to college? HE Go pluck Athena by the hair; For what mere book can grant a knowledge With an impassioned gravity Appropriate to that beating breast, That vigorous thigh, that dreaming eye? And may the devil take the rest. SHE And must no beautiful woman be Learned like a man? HE Paul Veronese And all his sacred company Imagined bodies all their days By the lagoon you love so much, For proud, soft, ceremonious proof That all must come to sight and touch; While Michael Angelo’s Sistine roof His ‘Morning’ and his ‘Night’ disclose How sinew that has been pulled tight, Or it may be loosened in repose, Can rule by supernatural right Yet be but sinew. SHE I have heard said There is great danger in the body. HE Did God in portioning wine and bread Give man His thought or His mere body? SHE My wretched dragon is perplexed. HE I have principles to prove me right. It follows from this Latin text That blest souls are not composite. And that all beautiful women may Live in uncomposite blessedness, And lead us to the like--if they Will banish every thought, unless The lineaments that please their view When the long looking-glass is full, Even from the foot-sole think it too. SHE They say such different things at school. SOLOMON AND THE WITCH And thus declared that Arab lady: “Last night, where under the wild moon On grassy mattress I had laid me, Within my arms great Solomon, I suddenly cried out in a strange tongue Not his, not mine.” And he that knew All sounds by bird or angel sung Answered: “A crested cockerel crew Upon a blossoming apple bough Three hundred years before the Fall, And never crew again till now, And would not now but that he thought, Chance being at one with Choice at last. All that the brigand apple brought And this foul world were dead at last. He that crowed out eternity Thought to have crowed it in again. A lover with a spider’s eye Will find out some appropriate pain, Aye, though all passion’s in the glance, For every nerve: lover tests lover With cruelties of Choice and Chance; And when at last that murder’s over Maybe the bride-bed brings despair For each an imagined image brings And finds a real image there; Yet the world ends when these two things, Though several, are a single light, When oil and wick are burned in one; Therefore a blessed moon last night Gave Sheba to her Solomon.” “Yet the world stays:” “If that be so, Your cockerel found us in the wrong Although he thought it worth a crow. Maybe an image is too strong Or maybe is not strong enough.” “The night has fallen; not a sound In the forbidden sacred grove Unless a petal hit the ground, Nor any human sight within it But the crushed grass where we have lain; And the moon is wilder every minute. Oh, Solomon! let us try again.” AN IMAGE FROM A PAST LIFE HE Never until this night have I been stirred. The elaborate star-light has thrown reflections On the dark stream, Till all the eddies gleam; And thereupon there comes that scream From terrified, invisible beast or bird: Image of poignant recollection. SHE An image of my heart that is smitten through Out of all likelihood, or reason. And when at last, Youth’s bitterness being past, I had thought that all my days were cast Amid most lovely places; smitten as though It had not learned its lesson. HE Why have you laid your hands upon my eyes? What can have suddenly alarmed you Whereon ’twere best My eyes should never rest? What is there but the slowly fading west, The river imaging the flashing skies, All that to this moment charmed you? SHE A sweetheart from another life floats there As though she had been forced to linger From vague distress Or arrogant loveliness. Merely to loosen out a tress Among the starry eddies of her hair Upon the paleness of a finger. HE But why should you grow suddenly afraid And start--I at your shoulder-- Imagining That any night could bring An image up, or anything Even to eyes that beauty had driven mad, But images to make me fonder. SHE Now she has thrown her arms above her head; Whether she threw them up to flout me, Or but to find, Now that no fingers bind, That her hair streams upon the wind, I do not know, that know I am afraid Of the hovering thing night brought me. UNDER SATURN Do not because this day I have grown saturnine Imagine that some lost love, unassailable Being a portion of my youth, can make me pine And so forget the comfort that no words can tell Your coming brought; though I acknowledge I have gone On a fantastic ride, my horses flanks were spurred By childish memories of an old cross Pollexfen, And of a Middleton, whose name you never heard, And of a red-haired Yeats whose looks, although he died Before my time, seem like a vivid memory. You heard that labouring man who had served my people. He said Upon the open road, near to the Sligo quay-- No, no, not said, but cried it out--“You have come again And surely after twenty years it was time to come.” I am thinking of a child’s vow sworn in vain Never to leave that valley his fathers called their home. November, 1919. EASTER, 1916 I have met them at close of day Coming with vivid faces From counter or desk among grey Eighteenth-century houses. I have passed with a nod of the head Or polite meaningless words, Or have lingered awhile and said Polite meaningless words, And thought before I had done Of a mocking tale or a gibe To please a companion Around the fire at the club, Being certain that they and I But lived where motley is worn: All changed, changed utterly: A terrible beauty is born. That woman’s days were spent In ignorant good will, Her nights in argument Until her voice grew shrill. What voice more sweet than hers When young and beautiful, She rode to harriers? This man had kept a school And rode our winged horse. This other his helper and friend Was coming into his force; He might have won fame in the end, So sensitive his nature seemed, So daring and sweet his thought. This other man I had dreamed A drunken, vain-glorious lout. He had done most bitter wrong To some who are near my heart, Yet I number him in the song; He, too, has resigned his part In the casual comedy; He, too, has been changed in his turn, Transformed utterly: A terrible beauty is born. Hearts with one purpose alone Through summer and winter seem Enchanted to a stone To trouble the living stream. The horse that comes from the road. The rider, the birds that range From cloud to tumbling cloud, Minute by minute change; A shadow of cloud on the stream Changes minute by minute; A horse-hoof slides on the brim, And a horse plashes within it Where long-legged moor-hens dive, And hens to moor-cocks call. Minute by minute they live: The stone’s in the midst of all. Too long a sacrifice Can make a stone of the heart. O when may it suffice? That is heaven’s part, our part To murmur name upon name. As a mother names her child When sleep at last has come On limbs that had run wild. What is it but nightfall? No, no, not night but death; Was it needless death after all? For England may keep faith For all that is done and said. We know their dream; enough To know they dreamed and are dead. And what if excess of love Bewildered them till they died? I write it out in a verse-- MacDonagh and MacBride And Connolly and Pearse Now and in time to be, Wherever green is worn. Are changed, changed utterly: A terrible beauty is born. September 25th, 1916. SIXTEEN DEAD MEN O but we talked at large before The sixteen men were shot, But who can talk of give and take, What should be and what not? While those dead men are loitering there To stir the boiling pot. You say that we should still the land Till Germany’s overcome; But who is there to argue that Now Pearse is deaf and dumb? And is their logic to outweigh MacDonagh’s bony thumb? How could you dream they’d listen That have an ear alone For those new comrades they have found Lord Edward and Wolfe Tone, Or meddle with our give and take That converse bone to bone. THE ROSE TREE “O words are lightly spoken” Said Pearse to Connolly, “Maybe a breath of politic words Has withered our Rose Tree; Or maybe but a wind that blows Across the bitter sea.” “It needs to be but watered,” James Connolly replied, “To make the green come out again And spread on every side, And shake the blossom from the bud To be the garden’s pride.” “But where can we draw water” Said Pearse to Connolly, “When all the wells are parched away? O plain as plain can be There’s nothing but our own red blood Can make a right Rose Tree.” ON A POLITICAL PRISONER She that but little patience knew, From childhood on, had now so much A grey gull lost its fear and flew Down to her cell and there alit, And there endured her fingers touch And from her fingers ate its bit. Did she in touching that lone wing Recall the years before her mind Became a bitter, an abstract thing, Her thought some popular enmity: Blind and leader of the blind Drinking the foul ditch where they lie? When long ago I saw her ride Under Ben Bulban to the meet, The beauty of her country-side With all youth’s lonely wildness stirred, She seemed to have grown clean and sweet Like any rock-bred, sea-borne bird: Sea-borne, or balanced on the air When first it sprang out of the nest Upon some lofty rock to stare Upon the cloudy canopy, While under its storm-beaten breast Cried out the hollows of the sea. THE LEADERS OF THE CROWD They must to keep their certainty accuse All that are different of a base intent; Pull down established honour; hawk for news Whatever their loose phantasy invent And murmur it with bated breath, as though The abounding gutter had been Helicon Or calumny a song. How can they know Truth flourishes where the student’s lamp has shone, And there alone, that have no solitude? So the crowd come they care not what may come. They have loud music, hope every day renewed And heartier loves; that lamp is from the tomb. TOWARDS BREAK OF DAY Was it the double of my dream The woman that by me lay Dreamed, or did we halve a dream Under the first cold gleam of day? I thought “there is a waterfall Upon Ben Bulban side, That all my childhood counted dear; Were I to travel far and wide I could not find a thing so dear.” My memories had magnified So many times childish delight. I would have touched it like a child But knew my finger could but have touched Cold stone and water. I grew wild Even accusing heaven because It had set down among its laws: Nothing that we love over-much Is ponderable to our touch. I dreamed towards break of day, The cold blown spray in my nostril. But she that beside me lay Had watched in bitterer sleep The marvellous stag of Arthur, That lofty white stag, leap From mountain steep to steep. DEMON AND BEAST For certain minutes at the least That crafty demon and that loud beast That plague me day and night Ran out of my sight; Though I had long pernned in the gyre, Between my hatred and desire, I saw my freedom won And all laugh in the sun. The glittering eyes in a death’s head Of old Luke Wadding’s portrait said Welcome, and the Ormonds all Nodded upon the wall, And even Stafford smiled as though It made him happier to know I understood his plan; Now that the loud beast ran There was no portrait in the Gallery But beckoned to sweet company, For all men’s thoughts grew clear Being dear as mine are dear. But soon a tear-drop started up For aimless joy had made me stop Beside the little lake To watch a white gull take A bit of bread thrown up into the air; Now gyring down and pernning there He splashed where an absurd Portly green-pated bird Shook off the water from his back; Being no more demoniac A stupid happy creature Could rouse my whole nature. Yet I am certain as can be That every natural victory Belongs to beast or demon, That never yet had freeman Right mastery of natural things, And that mere growing old, that brings Chilled blood, this sweetness brought; Yet have no dearer thought Than that I may find out a way To make it linger half a day. O what a sweetness strayed Through barren Thebaid, Or by the Mareotic sea When that exultant Anthony And twice a thousand more Starved upon the shore And withered to a bag of bones: What had the Caesars but their thrones? THE SECOND COMING 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 Mundi Troubles my sight: a waste of desert sand; 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 Wind shadows of the indignant desert birds. The darkness drops again but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born? A PRAYER FOR MY DAUGHTER 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. 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. 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. 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-legged smith for man. It’s certain that fine women eat A crazy salad with their meat Whereby the Horn of Plenty is undone. 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. 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. Oh, may she live like some green laurel Rooted in one dear perpetual place. 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. 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? 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. And may her bride-groom 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. June, 1919. A MEDITATION IN TIME OF WAR For one throb of the Artery, While on that old grey stone I sat Under the old wind-broken tree, I knew that One is animate Mankind inanimate phantasy. TO BE CARVED ON A STONE AT BALLYLEE I, the poet William Yeats, With old mill boards and sea-green slates, And smithy work from the Gort forge, Restored this tower for my wife George; And may these characters remain When all is ruin once again. NOTES AN IMAGE FROM A PAST LIFE Robartes writes to Aherne under the date May 12th, 1917. “I found among the Judwalis much biographical detail, probably legendary, about Kusta-ben-Luki. He saw occasionally during sleep a woman’s face and later on found in a Persian painting a face resembling, though not identical with the dream-face, which was he considered that of a woman loved in another life. Presently he met & loved a beautiful woman whose face also resembled, without being identical, that of his dream. Later on he made a long journey to purchase the painting which was, he said, the better likeness, and found on his return that his mistress had left him in a fit of jealousy.” In a dialogue and in letters, Robartes gives a classification and analysis of dreams which explain the survival of this story among the followers of Kusta-ben-Luki. They distinguished between the memory of concrete images and the abstract memory, and affirm that no concrete dream-image is ever from our memory. This is not only true they say of dreams, but of those visions seen between sleeping and waking. This doctrine at first found me incredulous, for I thought it contradicted by my experience and by all I have read, not however a very great amount, in books of psychology and of psycho-analysis. Did I not frequently dream of some friend, or relation, or that I was at school? I found, however, when I studied my dreams, as I was directed in a dialogue, that the image seen was never really that of friend, or relation, or my old school, though it might very closely resemble it. A substitution had taken place, often a very strange one, though I forgot this if I did not notice it at once on waking. The name of some friend, or the conceptions “my father” and “at school,” are a part of the abstract memory and therefore of the dream life, but the image of my father, or my friend, or my old school, being a part of the personal concrete memory appeared neither in sleep nor in visions between sleep and waking. I found sometimes that my father, or my friend, had been represented in sleep by a stool or a chair, and I concluded that it was the entire absence of my personal concrete memory that enabled me to accept such images without surprise. Was it not perhaps this very absence that constituted sleep? Would I perhaps awake if a single concrete image from my memory came before me? Even these images--stool, chair, etc. were never any particular stool, chair, etc. that I had known. Were these images, however, from the buried memory? had they floated up from the subconscious? had I seen them perhaps a long time ago and forgotten having done so? Even if that were so, the exclusion of the conscious memory was a new, perhaps important truth; but Robartes denied their source even in the subconscious. It seems a corroboration that though I often see between sleep and waking elaborate landscape, I have never seen one that seemed a possible representation of any place I have ever lived near from childhood up. Robartes traces these substitute images to different sources. Those that come in sleep are (1) from the state immediately preceding our birth; (2) from the _Spiritus Mundi_--that is to say, from a general store-house of images which have ceased to be a property of any personality or spirit. Those that come between sleeping and waking are, he says, re-shaped by what he calls the “automatic faculty” which can create pattern, balance, etc. from the impressions made upon the senses, not of ourselves, but of others bound to us by certain emotional links though perhaps entire strangers, and preserved in a kind of impersonal mirror, often simply called the “record,” which takes much the same place in his system the lower strata of the astral light does among the disciples of Elephas Levi. This does not exhaust the contents of dreams for we have to account also for certain sentences, for certain ideas which are not concrete images and yet do not arise from our personal memory, but at the moment I have merely to account for certain images that affect passion or affection. Robartes writes to Aherne in a letter dated May 15th, 1917: “No lover, no husband has ever met in dreams the true image of wife or mistress. She who has perhaps filled his whole life with joy or disquiet cannot enter there. Her image can fill every moment of his waking life but only its counterfeit comes to him in sleep; and he who classifies these counterfeits will find that just in so far as they become concrete, sensuous, they are distinct individuals; never types but individuals. They are the forms of those whom he has loved in some past earthly life, chosen from _Spiritus Mundi_ by the subconscious will, and through them, for they are not always hollow shades, the dead at whiles outface a living rival.” They are the forms of Over Shadowers as they are called. All violent passion has to be expiated or atoned, by one in life, by one in the state between life and life, because, as the Judwalis believe, there is always deceit or cruelty; but it is only in sleep that we can see these forms of those who as spirits may influence all our waking thought. Souls that are once linked by emotion never cease till the last drop of that emotion is exhausted--call it desire, hate or what you will--to affect one another, remaining always as it were in contact. Those whose past passions are unatoned seldom love living man or woman but only those loved long ago, of whom the living man or woman is but a brief symbol forgotten when some phase of some atonement is finished; but because in general the form does not pass into the memory, it is the moral being of the dead that is symbolised. Under certain circumstances, which are precisely described, the form indirectly, and not necessarily from dreams, enters the living memory; the subconscious will, as in Kusta-ben-Luki in the story, selects among pictures, or other ideal representations, some form that resembles what was once the physical body of the Over Shadower, and this ideal form becomes to the living man an obsession, continually perplexing and frustrating natural instinct. It is therefore only after full atonement or expiation, perhaps after many lives, that a natural deep satisfying love becomes possible, and this love, in all subjective natures, must precede the Beatific Vision. When I wrote An Image from a Past Life, I had merely begun my study of the various papers upon the subject, but I do not think I misstated Robartes’ thought in permitting the woman and not the man to see the Over Shadower or Ideal Form, whichever it was. No mind’s contents are necessarily shut off from another, and in moments of excitement images pass from one mind to another with extraordinary ease, perhaps most easily from that portion of the mind which for the time being is outside consciousness. I use the word “pass” because it is familiar, not because I believe any movement in space to be necessary. The second mind sees what the first has already seen, that is all. THE SECOND COMING Robartes copied out and gave to Aherne several mathematical diagrams from the _Speculum_, squares and spheres, cones made up of revolving gyres intersecting each other at various angles, figures sometimes of great complexity. His explanation of these, obtained invariably from the followers of Kusta-ben-Luki, is founded upon a single fundamental thought. The mind, whether expressed in history or in the individual life, has a precise movement, which can be quickened or slackened but cannot be fundamentally altered, and this movement can be expressed by a mathematical form. A plant or an animal has an order of developement peculiar to it, a bamboo will not develop evenly like a willow, nor a willow from joint to joint, and both have branches, that lessen and grow more light as they rise, and no characteristic of the soil can alter these things. A poor soil may indeed check or stop the movement and a rich prolong and quicken it. Mendel has shown that his sweet-peas bred long and short, white and pink varieties in certain mathematical proportions, suggesting a mathematical law governing the transmission of parental characteristics. To the Judwalis, as interpreted by Michael Robartes, all living mind has likewise a fundamental mathematical movement, however adapted in plant, or animal, or man to particular circumstance; and when you have found this movement and calculated its relations, you can foretell the entire future of that mind. A supreme religious act of their faith is to fix the attention on the mathematical form of this movement until the whole past and future of humanity, or of an individual man, shall be present to the intellect as if it were accomplished in a single moment. The intensity of the Beatific Vision when it comes depends upon the intensity of this realisation. It is possible in this way, seeing that death is itself marked upon the mathematical figure, which passes beyond it, to follow the soul into the highest heaven and the deepest hell. This doctrine is, they contend, not fatalistic because the mathematical figure is an expression of the mind’s desire, and the more rapid the developement of the figure the greater the freedom of the soul. The figure while the soul is in the body, or suffering from the consequences of that life, is frequently drawn as a double cone, the narrow end of each cone being in the centre of the broad end of the other. [Illustration: A line drawing of two cones superimposed on each other, with the tip of each cone in the centre of the base of the other.] It has its origin from a straight line which represents, now time, now emotion, now subjective life, and a plane at right angles to this line which represents, now space, now intellect, now objective life; while it is marked out by two gyres which represent the conflict, as it were, of plane and line, by two movements, which circle about a centre because a movement outward on the plane is checked by and in turn checks a movement onward upon the line; & the circling is always narrowing or spreading, because one movement or other is always the stronger. In other words, the human soul is always moving outward into the objective world or inward into itself; & this movement is double because the human soul would not be conscious were it not suspended between contraries, the greater the contrast the more intense the consciousness. The man, in whom the movement inward is stronger than the movement outward, the man who sees all reflected within himself, the subjective man, reaches the narrow end of a gyre at death, for death is always, they contend, even when it seems the result of accident, preceded by an intensification of the subjective life; and has a moment of revelation immediately after death, a revelation which they describe as his being carried into the presence of all his dead kindred, a moment whose objectivity is exactly equal to the subjectivity of death. The objective man on the other hand, whose gyre moves outward, receives at this moment the revelation, not of himself seen from within, for that is impossible to objective man, but of himself as if he were somebody else. This figure is true also of history, for the end of an age, which always receives the revelation of the character of the next age, is represented by the coming of one gyre to its place of greatest expansion and of the other to that of its greatest contraction. At the present moment the life gyre is sweeping outward, unlike that before the birth of Christ which was narrowing, and has almost reached its greatest expansion. The revelation which approaches will however take its character from the contrary movement of the interior gyre. All our scientific, democratic, fact-accumulating, heterogeneous civilization belongs to the outward gyre and prepares not the continuance of itself but the revelation as in a lightning flash, though in a flash that will not strike only in one place, and will for a time be constantly repeated, of the civilization that must slowly take its place. This is too simple a statement, for much detail is possible. There are certain points of stress on outer and inner gyre, a division of each, now into ten, now into twenty-eight, stages or phases. However in the exposition of this detail so far as it affects the future, Robartes had little help from the Judwalis either because they cannot grasp events outside their experience, or because certain studies seem to them unlucky. “‘For a time the power’ they have said to me,” (writes Robartes) “‘will be with us, who are as like one another as the grains of sand, but when the revelation comes it will not come to the poor but to the great and learned and establish again for two thousand years prince & vizier. Why should we resist? Have not our wise men marked it upon the sand, and it is because of these marks, made generation after generation by the old for the young, that we are named Judwalis.’” Their name means makers of measures, or as we would say, of diagrams. TRANSCRIBER’S NOTE In this plain text version, italics in the text have been replaced with _underscores_. A description has been added for a line drawing in the original text. The nested quotation marks near the end of the Notes have been corrected from the printed text. *** END OF THE PROJECT GUTENBERG EBOOK MICHAEL ROBARTES AND THE DANCER *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.