If ever there was an ode to the labor that goes into composing a decent work of art, W.B. Yeats’s “Adam’s Curse” would be its muse. In this short poem, Yeats beautifully captures the agony that a poet endures through his struggle to write even one pleasing line, and the worth of the fleeting vindication that follows, allowing the poet to give the reader a rare glimpse into the mental strain that goes into the creation of an artful prose.
The clear message Yeats is eager to convey to the audience is the amount of unappreciated work that goes into composing a good poem, “A line will take us hours maybe; Yet if it does not seem a moment’s thought, Our stitching and unstitching has been naught.” Despite the mental anguish a poet will place on himself to create a respectable contribution to his art, he knows that ultimately, once that grand epiphany comes and goes, all the hours of despair that preceded will lose all meaning in comparison to that one finite instant. The poet exclaims that he would rather work the most physically strenuous forms of manual labor available, because, “to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, schoolmasters, and clergymen.” There is resentment in his tone, as the poet reflects on the way men of other professions scoff at his work, and refuse to recognize it as anything more than a profession of play. The good poet’s talent is the source of his plight, for as his prose improves, the beauty of his work will mask the hardship which begot it.
As a poet, Yeats is aware of the importance of perspective needed to add dimension to a poem’s message. After the poet has had his say about his profession’s agony, a beautiful woman sitting by proclaims, “To be born woman is to know–Although they do not talk of it at school–That we must labour to be beautiful.” Like the beauty of the poem, a woman understand the depth of labor necessary to make one’s attraction seem effortless; thus, a true sign of success is one which fails to emit any recognition of the toil that brought it about. For the goal of all beauty (whether in art or in persons) is for it to be seen as naturally sublime, that is to say, devoid of forceful maneuvering. This causes the poet to opine:
It’s certain there is no fine thing
Since Adam’s fall but needs much labouring.
There have been lovers who thought love should be
So much compounded of high courtesy
That they would sigh and quote with learned looks
precedents out of beautiful old books.
Since the fall of Adam, mankind has been cursed to labor over all worthwhile things. The poet specifically mention lovers, who will idly fret to emulate the the beautiful conceptions set out in “old books,” but also suggests the uselessness of the effort. Time, the poet reminds us, is a winding act, carrying us along in a cyclical mode of existence. Bringing the poem to its end on the despondent note, “That it had all seemed happy, and yet we’d grown As weary-hearted as that hollow moon.” Like the happiness of a poet’s brief moment of artistic inspiration, time will fade it away, just as we fade away and grow.
Of course, the earlier allusion to a cyclical time refers to Yeats’s spiritual adherence to various forms of mysticism, which included the idea of cyclical forms of life. Giving credence to the notion that “Adam’s Curse” is meant as a work of self-reflection for Yeats; letting the reader know that although the composition might seem effortless, the process by which it was created is anything but. And, perhaps, persuade the public to appreciate the labor that goes into creating such great splendors of art.
KRONSTADT REVOLT 