Ancestral Houses

W. B. Yeats (1865–1939) · 1928

iambic pentameter · 40 lines · from The Tower

Surely among a rich man’s flowering lawns,Amid the rustle of his planted hills,Life overflows without ambitious pains;And rains down life until the basin spills,And mounts more dizzy high the more it rainsAs though to choose whatever shape it willsAnd never stoop to a mechanical,Or servile shape, at others’ beck and call.

Mere dreams, mere dreams! Yet Homer had not sungHad he not found it certain beyond dreamsThat out of life’s own self-delight had sprungThe abounding glittering jet; though now it seemsAs if some marvellous empty sea-shell flungOut of the obscure dark of the rich streams,And not a fountain, were the symbol whichShadows the inherited glory of the rich.

Some violent bitter man, some powerful manCalled architect and artist in, that they,Bitter and violent men, might rear in stoneThe sweetness that all longed for night and day,The gentleness none there had ever known;But when the master’s buried mice can play,And maybe the great-grandson of that house,For all its bronze and marble, ’s but a mouse.

Oh, what if gardens where the peacock straysWith delicate feet upon old terraces,Or else all Juno from an urn displaysBefore the indifferent garden deities;Oh, what if levelled lawns and gravelled waysWhere slippered Contemplation finds his easeAnd Childhood a delight for every sense,But take our greatness with our violence!

What if the glory of escutcheoned doors,And buildings that a haughtier age designed,The pacing to and fro on polished floorsAmid great chambers and long galleries, linedWith famous portraits of our ancestors;What if those things the greatest of mankind,Consider most to magnify, or to bless,But take our greatness with our bitterness!

Words in this poem

amid prep.
In the midst or middle of; surrounded or encompassed by; among. [OE. amidde, amiddes, on midden, AS. on middan, in the middle, fr. midde the middle. The s is an adverbial ending, originally marking the genitive; the t is a la]
rustle v. i.
To make a quick succession of small sounds, like the rubbing or moving of silk cloth or dry leaves. [AS. hristlan to rustle; or cf. Sw. rusta to stir, make a riot, or E. rush, v.]
artist n.
One who practices some mechanic art or craft; an artisan. [F. artiste, LL. artista, fr. L. ars. See Art, n., and cf. Artiste.]
maybe adv.
Perhaps; possibly; peradventure. [For it may be.]
slippered a.
Wearing slippers.
childhood n.
The state of being a child; the time in which persons are children; the condition or time from infancy to puberty. [AS. cildhad; cild child + -had. See Child, and hood.]
escutcheoned a.
Having an escutcheon; furnished with a coat of arms or ensign.

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

Ancestral Houses is in the public domain. This text is taken from The tower, Project Gutenberg ebook #72985; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: W. B. Yeats, Ancestral Houses, in The Tower (1928), text of Project Gutenberg ebook #72985, Laurel, https://laurelpoetry.com/poem/yeats-tower/ancestral-houses.html, id L19960.

Form and metre

Ancestral Houses is 40 lines in 5 stanzas of 8 lines each. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 84%).

See other poems in iambic pentameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 1 -ABABACC lawns · hillsA · painsB · spillsA · rainsB · willsA · mechanicalC · callC
  2. 2 ABABABCC sungA · dreamsB · sprungA · seemsB · flungA · streamsB · whichC · richC
  3. 3 -ABABACC man · theyA · stoneB · dayA · knownB · playA · houseC · mouseC
  4. 4 AAAAAABB straysA · terracesA · displaysA · deitiesA · waysA · easeA · senseB · violenceB
  5. 5 ABAB-BCC doorsA · designedB · floorsA · linedB · ancestors · mankindB · blessC · bitternessC
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic pentameter. How this is done.

LineSyl.Stress
Surely among a rich man’s flowering lawns,10/˘·····/˘·
Amid the rustle of his planted hills,10˘/·/˘··/˘·
Life overflows without ambitious pains;10·/˘···˘/˘·
And rains down life until the basin spills,10·······/˘·
And mounts more dizzy high the more it rains10···/˘·····
As though to choose whatever shape it wills10·····/˘···
And never stoop to a mechanical,10·/˘···˘/˘˘
Or servile shape, at others’ beck and call.10·/˘··/˘···
Mere dreams, mere dreams! Yet Homer had not sung10·····/˘···
Had he not found it certain beyond dreams10·····/˘···
That out of life’s own self-delight had sprung10······˘/··
The abounding glittering jet; though now it seems11·˘/˘/˘·····
As if some marvellous empty sea-shell flung11······/˘···
Out of the obscure dark of the rich streams,10···˘/·····
And not a fountain, were the symbol which10···/˘··/˘·
Shadows the inherited glory of the rich.11/··˘/˘/˘···
Some violent bitter man, some powerful man10·/˘/˘··/˘·
Called architect and artist in, that they,10·/˘··/˘···
Bitter and violent men, might rear in stone10/˘·/˘·····
The sweetness that all longed for night and day,10·/˘·······
The gentleness none there had ever known;10·/˘˘···/˘·
But when the master’s buried mice can play,10···/˘/˘···
And maybe the great-grandson of that house,10·/˘··/····
For all its bronze and marble, ’s but a mouse.11·····/˘····
Oh, what if gardens where the peacock strays10···/˘··/··
With delicate feet upon old terraces,11·/˘˘····/˘˘
Or else all Juno from an urn displays10···/˘···˘/
Before the indifferent garden deities;11···˘/˘/˘/˘˘
Oh, what if levelled lawns and gravelled ways10···/˘··/˘·
Where slippered Contemplation finds his ease10·/˘·˘/˘···
And Childhood a delight for every sense,10·/··˘/·/˘·
But take our greatness with our violence!11··//˘·/˘/˘˘
What if the glory of escutcheoned doors,10···/˘·˘/˘·
And buildings that a haughtier age designed,10·/˘·····˘/
The pacing to and fro on polished floors10·/˘····/˘·
Amid great chambers and long galleries, lined10˘/·/˘··/˘·
With famous portraits of our ancestors;11·/˘/˘·/˘/·˘
What if those things the greatest of mankind,10·····/˘·//
Consider most to magnify, or to bless,11˘/˘··/˘····
But take our greatness with our bitterness!11··//˘·/˘/˘˘

The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.

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