by W.B. Yeats
No Second Troy is a typical poem. It is among the poems written by Yeats about Maud Gonne. The title that he equates her with Helen, the destructive Gree is another poem representative of Yeats’s attempt to relations with person and events connected with his pero poetic terms. At the same time No Second Troy is a good example of how Yeats was able to use Greek mythology to great advante poetic purposes. It remains master piece of controlled rhetoric to express intense passion in a dramatic and indirect way. The way the poem blands tribute with comment is most remarkable. All the make No Second Troy the most memorable poem from the volume called The Green Helmet and Other Poems which was published in 1950. The momentum and driving force of the poem are really tremendous.
Development of Thought
Yeats begins the poem very subtly freeing Maud Gonne from the charge of ruining his life and of inciting the Irish masses to violence. At the same time it becomes clear that Yeats constantly remained aware of the emotional harm she had done to his life. The opening lines also make a hint that though Yeats does not blame her for all this yet he does not altogether approve of what Maud Gonne kept doing on the Irish political scene.
Yeats says that Maud Gonne had lately shown that she was capable of making men so violent as to incite the masses against aristocracy but this he says is not so much her fault. Being what is, she cannot be peaceful because she has a mind full of nobre and simplicity and her beauty is like a tightened bow solitary and most stern-phenomena which in the present hard to find
Yeats concludes the poem by saying that she could not have done otherwise being what she is. Had there been another her to burn, she had it in her occasion to its burning in much the same way as Helen was responsible for the burning of the city of troy.
The poem shows a remarkable mastery over rhetoric and over the rhyme scheme. The first line rhymes with the third one, the second line rhymes with the fourth, fifth with seventh, sixth with eight, ninth with eleventh, and tenth with twelfth. At the same time, the framing and posing of rhetorical questions is handled with great dexterity and skill. Moreover, the poem as a whole is one sustained movement very well supported by the passionate syntax. The colloquial style of the poem is very striking.