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BYZANTIUM : A SYMBOLIC ANALYSIS
Among the 20th century poets, Yeats is considered as the craftsman in the use of symbols and images. His poems are filled with complex system of symbols. The poem Byzantium is also rich with various symbols and images. The poem consists of five stanzas and each stanza carries a key image and symbols. Through this key image Yeats portrays the theme of the poem. The title of the poem itself do not stand for the real Byzantine Empire. It is the country or Empire of the mind which is a transcendental place out of the constraints of Time and Space. Here the empire stands for Purgation and Paradise. The poem focuses on the eternity of art and is contrasted with the sensual elements of the physical world. Through the use of complex symbols Yeats successfully presented this idea.
The poem begins with the unpurged images of the natural world. The starlit and moonlit dome of the cathedral looks down with disdain on the complexities of man.The dome is the powerful symbol used by the poetic personae. The dome is symbolic of the perfection and eternity which is opposed to the natural world of passion. The dome can also be considered as the symbol for the permanence of art. As Keats used the ‘grecian urn’ as a symbol for the eternity of art, the dome stands for the same and it scorns the complexities of man.
On another level this dome has another symbolic significance. This can also be relate to the creation of poem or art. According to Richard Ellmann Byzantium is a description of th act of making a poem. While analyzing on the basis of this, the poet is the Emperor and Byzantium is the ideal place for the poet, where all the unpurged realities disappear. The church gong is the premonition of death. As the gong sounds the realities disappear and the poet begins writing the poem. And the dome is the tower of the poetfrom where he is looking as a spectator to the world. The conflict between the real and the ideal is powerfully portrayed through the symbol of dome.
The next key symbol of the poem is the superhuman figure. This is the soul of the dead and is unwinding the memories of earthly existence. Actually the dead is the living. After death the soul liberates from the constraints of body and is living forever. So the dead is the actual living and living is really the death. The superhuman figure signifies imagination. As said before the poem can also be analyzed on the basis of creation and process of making a poem. The superhuman figure is the poet’s imagination. This purified soul will teach the poet wisdom and take him to heaven, Byzantium. In the process of creation of the poem poet attains perfect bliss. This imagination gives coherence to things and resolve all differences. What the poet saying is that the artist has to exploit the tension between the physical and spiritual worlds.
Among all the symbols used in the poem, golden bird is the most important one. Like the dome, the golden bird sitting in the golden bough also symbolizes perfection in the creative process. Through this symbol poet celebrates artificiality and changelessness of art. The golden bird is opposed to the living things and it scorns the common birds. So the perfected art looks down the nature which is subjected to time and emotions.
The flames represents spiritual realization. They are purgatorial fire. On the emperor’s pavement, fire fed by no fuel is burning and the souls of the dead purify themselves by dancing. They are ideal flames. Apart from spiritual realization the flames and purgatorial dance als represents the process of making poem. As Richard Ellmann says this poem is about the creation of art and each stanza depicts the image of imagination and art. So here the emperor’s pavement is the poet’s tower and the flames are the imagination of the poet. The blood begotten spirits are the raw material for the poem and dance is the process of creation. The raw materials gets purified and the imagination cannot be disturbed because it is independent. So here also the symbol stands for the creative genius. The golden smithies, dolphins and sea are the symbols presented in the final stanza. Dolphins are the images for resurrection and it guides to enlightenment. The poet describes the shore of ocean of life in the last lines. On the level of creation the dolphin and goldensmithies represents duality and craftsmanship of the poet respectively and it gives order to flesh and passion. Marble of the dancing floor is the imagination of the poet and it breaks the chaos.
Apart from these major symbols, Yeats presents certain images. The moon presented in the beginning stands for cycle of time and different phases in the man’s life. Mire is the cycle of birth and death. The “mummy cloth” which is unwinding clearly signifies what is inside beyond the question of life and death.Yeats used four elements of creation as symbols in the poem. The empire stands for earth, heaven for air, sea for water and flames for fire. Here Yeats attempted to bring together spiritualism, symbolism, aesthetics and mysticism. Thus he powerfully brought the themes of battle between immortality and creation, nature v/s art, human imperfection and perfected form of art and tension between life of senses and soulful life. Through the symbolic analysis of the poem it can be understood that Yeats is a craftsman in the use of symbols and images.
ECOFEMINISM
Ecofeminism or ecological feminism is the most important approach within ecocriticism and ecological activism. The writings of Annette Kolodny gave impetus to what has come to be called ecofeminism. The term ecofeminism was coined by French feminist Francoise d’Eaubonne in 1974. It is a branch of ecocriticism and feminism that examines the connection between women and nature. Eco feminism can be considered as the analysis of the role attribuntasies of the natural environment, by male authors. It also includes the study of specifically feminine conceptions of the environment in the neglected nature writings by female authors. According to Pramod K Nayar, ecofeminism argue that patriarchal society’s values and beliefs have resulted in the oppression of both women and nature. He also says that it ignores
women’s work, knowledge and situatedness. The situatedness of women is her immediate location in nature, where the relationship of woman with environment is far more intimate than that of man’s. In simple terms this philosophy examines the ways both nature and women are treated by patriarchal society. The earlier binaries in Western thought and literature was that of nature versus culture. Further eco feminists interrogate the effect of gender categories. That is the masculine culture as objective, rational, mind and public and feminine as subjective, emotional, body and private. And these binaries are used in order to demonstrate the ways in which man is equated with culture and woman with nature. Images like “mother nature” indicate two things. They are the naturalization of woman and feminization of nature. Thus it illustrates how men dominate nature and women as exploitable objects. The works of Vandana Shiva, Mary Mellor, Ariel Salleh has generated nuanced readings of the relationship between gender and nature.Ecofeminism can be classified into two, radical ecofeminism and cultural ecofeminism. One of the assumptions of radical ecofeminism is that the dominant patriarchal society equates nature and women in order to degrade both. In fact, in it’s emergence, ecofeminism tends to be radical revealing practices of patriarchal domination of both. So radical ecofeminism targets the historical and cultural
backgrounds that equates the feminine and nature with negative and commodifiable attributes, while men have been elevated as capable of establishing order. Such a socio economic structure easily facilitates the exploitation of women and nature, for cheap labour and resources.
Cultural ecofeminism promotes an association between women and the environment by focusing on the more intimate and organic relationship between them. As per the anthropologically assigned gender roles women are nurturers of family. Culture ecofeminism has roots in nature based religions, goddess and nature worship. It is a way of redeeming both the spirituality of nature and women’s instrumental role in that spirituality. The cultural myths and
spirituality of Native America, Australia and African tribal populace underscores this mutual bonding between women and nature. Because they are built on a mother goddess instead of omniscient father God.
Vegetarian ecofeminism, materialist ecofeminism and spiritualist ecofeminism are some of the new branches of ecofeminism. A major theme within ecofeminism is the belief that there is a strong connection between the domination of women and the domination of nature, and that both must be eradicated in order to end oppression. Vegetarian ecofeminism aims to include the domination of not only the environment but also of nonhuman animals to the list. Materialist ecofeminism connects institutions like labour, power and property as the source of domination
over women and nature. This belief stresses that the sphere of production that is men and factory is dependent on the production of reproduction ( women and family). Materialist ecofeminists thus call for quality in labour distribution, the recognition of the contribution of women’s work.And they suggest to expand the very definition of ‘work’ to include women’s work. In spiritualist ecofeminism, a turn to myth and theology is advocated against materialism because of the
importance given to women, nature and all forms of life. They argue that pre-modern culture have always treated nature with respect and give importance to women’s knowledge, female body and female sexuality. Thus this philosophy turned to Native American religions, godess worship in Hinduism and other native cultures. Vandana Shiva, glorifies Vedic period of Indian History, for its emphasis on symbiotic values in her work Staying Alive (1989).
Politics in India
By – Supriya



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