The Second Coming
Listen
Text: Poetry, by W. B. Yeats (Standard Ebooks, 2024), from the collected editions of 1908 to 1928. Public domain.
In brief
SummaryA vision of the world collapsing and a monstrous new age arriving.
The poem opens on a world spinning out of control. A falcon circles so widely that it can no longer hear the falconer; things "fall apart", a tide of blood drowns innocence, and the good have lost their nerve while the worst are full of fanatical energy. In the second stanza the speaker feels that some revelation must be near, surely the Second Coming of Christ. Instead a vision rises from the world's memory: a sphinx-like creature with a lion's body and a man's head, stirring in the desert. The vision fades, but he now knows that two thousand years of the Christian age are ending, and he asks what "rough beast" is coming to be born.
Lines to remember
Things fall apart; the centre cannot hold;
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
Line by line
Lines 1 to 2The widening gyre
A falcon flies in ever wider circles until it can no longer hear its master. The "gyre", a spiral, is Yeats's image for an age of history unwinding, and the broken link between falcon and falconer suggests a world that has lost touch with its centre of control or belief.
Lines 3 to 8Things fall apart
Short, blunt statements describe collapse: "Things fall apart; the centre cannot hold". Violence is a "blood-dimmed tide" that drowns "The ceremony of innocence", the rituals that protect what is pure. The last two lines give the famous diagnosis: the best are paralysed by doubt while the worst act with "passionate intensity".
Lines 9 to 12Surely some revelation
The repeated "Surely" sounds like a man trying to convince himself. As soon as he speaks the words "The Second Coming", the return of Christ, a "vast image" comes to him out of "Spiritus Mundi", Latin for the spirit of the world: for Yeats, a store of images shared by all minds.
Lines 13 to 17The shape in the desert
In the desert a creature like the Sphinx, "A shape with lion body and the head of a man", is waking, its gaze "blank and pitiless as the sun". "Moving its slow thighs" makes it horribly physical. Around it wheel the "indignant desert birds", disturbed like the falcon of line 2.
Lines 18 to 22The rough beast
The darkness returns, but now he knows: the "twenty centuries of stony sleep" since Christ's birth were "vexed to nightmare by a rocking cradle". A new age is due, and the last lines turn the nativity upside down, as a "rough beast" "Slouches towards Bethlehem to be born".
Themes
Chaos and violence
The first stanza is a catalogue of collapse: "Things fall apart", "Mere anarchy is loosed upon the world", "The blood-dimmed tide is loosed". The passive verbs make the violence seem unstoppable, as if no one were in charge. Even the moral order fails: "The best lack all conviction, while the worst / Are full of passionate intensity."
History as cycles
Yeats believed history moves in great cycles, or gyres, of about two thousand years, each ending in violence and giving way to its opposite. The "widening gyre" of line 1 is one such cycle unwinding, and the "twenty centuries" of line 19 are the Christian age now ending. The beast's "hour come round at last" suggests something fated by the turning of time.
Revelation and religion
The poem borrows the Christian hope of the Second Coming and reverses it. Instead of Christ returning, a pitiless beast "Slouches towards Bethlehem to be born". The "rocking cradle" of the nativity has vexed the centuries "to nightmare". The revelation the speaker longs for arrives, but it is terrifying, and its meaning is left as an open question.
Context
Yeats wrote the poem in 1919, the year after the First World War ended, when revolution had already broken out in Russia and violence was spreading in Ireland. It was first printed in The Dial and The Nation in November 1920 and collected in Michael Robartes and the Dancer (Cuala Press, 1921), beside "Easter, 1916" and "A Prayer for my Daughter".
After his marriage in 1917, Yeats and his wife George explored her automatic writing, which gave him the system he later set out in A Vision (1925). In it, history turns in interlocking gyres, and each age of about two thousand years ends by giving way to its opposite. The poem imagines the Christian era reaching that point.
Its lines have passed into everyday language and are quoted whenever the world seems to be losing its balance. The Nigerian novelist Chinua Achebe took the title of Things Fall Apart (1958) from line 3, and Joan Didion called a book of essays Slouching Towards Bethlehem (1968).
Form
Two verse paragraphs of 8 and 14 lines in loose blank verse: lines of roughly five beats, mostly unrhymed, with only a few faint chimes such as "hold" and "world". The freedom of the verse suits a world where "the centre cannot hold", and the long, rolling sentences of the second part build like a vision gathering force.
Yeats's own note
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.
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.
Studying this poem
What to focus on
- How images of disorder (the gyre, the falcon, the "blood-dimmed tide") convey a world in collapse.
- The shift from general statement in the first stanza to personal, prophetic vision in the second.
- Yeats's use of Christian ideas, especially the ironic reversal of the Second Coming and the nativity at Bethlehem.
- Yeats's cyclical view of history and how it shapes the poem's imagery and ending.
- Why the poem still feels relevant, and how its prophetic, public tone is created.
Key quotations
Turning and turning in the widening gyre
The repeated present participle creates a relentless circling motion, and the widening spiral suggests a world moving ever further from its centre.
Things fall apart; the centre cannot hold;
Blunt, short words and strong pauses state the collapse of order simply. The "centre" can be read as authority, faith or shared values.
The best lack all conviction, while the worst
A sharp antithesis, completed in the next line: moral paralysis among good people against fanatical energy among the worst, a diagnosis readers keep applying to their own times.
A gaze blank and pitiless as the sun,
The simile gives the beast an inhuman, merciless stare, as indifferent as the desert sun. Whatever age is coming will have no pity.
Slouches towards Bethlehem to be born?
A grotesque reversal of the nativity. The ugly verb "Slouches" makes the birth sinister, and ending on a question leaves the future frighteningly open.



