Throughout his literary career, Yeats incorporated distinctly Irish themes and issues into his work. He used his writing as a tool to comment on Irish politics and the home rule movement and to educate and inform people about Irish history and culture. Yeats also used the backdrop of the Irish countryside to retell stories and legends from Irish folklore. As he became increasingly involved in nationalist politics, his poems took on a patriotic tone. Yeats addressed Irish politics in a variety of ways: sometimes his statements are explicit political commentary, as in “An Irish Airman Foresees His Death,” in which he addresses the hypocrisy of the British use of Irish soldiers in World War I. Such poems as “Easter 1916” and “In Memory of Eva Gore Booth and Con Markiewicz” address individuals and events connected to Irish nationalist politics, while “The Second Coming” and “Leda and the Swan” subtly include the idea of Irish nationalism. In these poems, a sense of cultural crisis and conflict seeps through, even though the poems are not explicitly about Ireland. By using images of chaos, disorder, and war, Yeats engaged in an understated commentary on the political situations in Ireland and abroad. Yeats’s active participation in Irish politics informed his poetry, and he used his work to further comment on the nationalist issues of his day.
Yeats had a deep fascination with mysticism and the occult, and his poetry is infused with a sense of the otherworldly, the spiritual, and the unknown. His interest in the occult began with his study of Theosophy as a young man and expanded and developed through his participation in the Hermetic Order of the Golden Dawn, a mystical secret society. Mysticism figures prominently in Yeats’s discussion of the reincarnation of the soul, as well as in his philosophical model of the conical gyres used to explain the journey of the soul, the passage of time, and the guiding hand of fate. Mysticism and the occult occur again and again in Yeats’s poetry, most explicitly in “The Second Coming” but also in poems such as “Sailing to Byzantium” and “The Magi” (1916). The rejection of Christian principles in favor of a more supernatural approach to spirituality creates a unique flavor in Yeats’s poetry that impacts his discussion of history, politics, and love.
Yeats’s participation in the Irish political system had origins in his interest in Irish myth and folklore. Irish myth and folklore had been suppressed by church doctrine and British control of the school system. Yeats used his poetry as a tool for re-educating the Irish population about their heritage and as a strategy for developing Irish nationalism. He retold entire folktales in epic poems and plays, such as The Wanderings of Oisin (1889) and The Death of Cuchulain (1939), and used fragments of stories in shorter poems, such as “The Stolen Child” (1886), which retells a parable of fairies luring a child away from his home, and “Cuchulain’s Fight with the Sea” (1925), which recounts part of an epic where the Irish folk hero Cuchulain battles his long-lost son by at the edge of the sea. Other poems deal with subjects, images, and themes culled from folklore. In “Who Goes with Fergus?” (1893) Yeats imagines a meeting with the exiled wandering king of Irish legend, while “The Song of Wandering Aengus” (1899) captures the experiences of the lovelorn god Aengus as he searches for the beautiful maiden seen in his dreams. Most important, Yeats infused his poetry with a rich sense of Irish culture. Even poems that do not deal explicitly with subjects from myth retain powerful tinges of indigenous Irish culture. Yeats often borrowed word selection, verse form, and patterns of imagery directly from traditional Irish myth and folklore.