verse, of folk-verse, of verse based on the old court romances, of symbolism, of Rosicrucianism, of essences, of speaking to the psaltery, of dramatic art; and all the time he has practiced poetry, the interest of the time resulting in now the greater emphasis on one quality in the poetry, and now on another quality. It would be superfluous to do more than point out most of these qualities, but a word on his use of symbols may help to a fuller understanding of his poetry. I am very sure that I read wrong meanings from many of these symbols, as one who has not the password must. They require definite knowledge of magical tradition, and of the poet's interpretation of Celtic tradition, for a full understanding. As the years go by, I think their exact meaning will escape more and more readers until they will have no more significance than Spenser's allegories have to us. Only to the student deeply read in Elizabethan politics do these mean to-day what must have been patent to the inner circle at Elizabeth's court. Those symbols of Mr. Yeats that we may understand intuitively, as we may "The white owl in the belfry sits," other generations also may understand, but hardly those that have meanings known only to a coterie. But we may read Spenser with enjoyment even if all the inner allegories are missed, and so, too, many read Mr. Yeats to-day, neglectful of the images of a formal symbolism.
I do not know that I get more enjoyment from the poetry of the verses entitled "The Valley of the Black Pig" because Mr. Yeats's note tells us that it is the scene of Ireland's Götterdämmerung, though it is an unques-
