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Lapis , cavernous cobalt in color and opaque, this gem was outstandingly prized by the pharaohs of ancient Egypt, as can be seen by its obvious use in heaps of the treasures healed from swayer tombs.

W. B. Yeats' poem, Lapis Lazuli has for its themes the inveterate appreciation and season of civilizations, the close at hand end of our civilization, and the triumph of art and philosophy finished the tragedy of trial.

The first stanza focuses on contemporary present. Even worse than the impending flattening are those hysterical women who repulse painting, music and poetry, all "gay" art, in choose of social relation. These subject field are titled gay since they have the strength of transfiguring calamity into sad joy. The psychoneurotic women are dog-tired of the artist's happiness because they like motion to contemplation, social relation to art.

In the ordinal textual matter Yeats says that far removed from psychoneurotic women who "break up their lives to weep", heroes like Hamlet and Lear are "gay". They are gay because they have the last chuckle. The disaster that overtook them could smash their bodies, but not the mind.

The ordinal canto refers to the fall of civilizations. "All things drop and are improved again", and Yeats accepts the cycles of yore next to "tragic joy" declarative that "those that raise them once again will be gay."

In the 4th and fifth stanzas Yeats crystallizes the mental object of sad gaiety in the mental representation of the 3 Chinamen incised on a part of lapis lazuli. The 3 old men are visualized as climb towards a minute half-way lodging sweetened, Yeats supposes, by plum tree or ruby river. Then he imagines that seated in that they gaze on the "Tragic scene" circulation at a lower place them. And amid various wrinkles, their eyes

"Their ancient, scintillant eyes, are gay"

The gaiety is a outcome not simply of their ancient mental object which deeply comprehends the tragical scene, but likewise of the "mournful melodies" vie on a pleasant-sounding means by the serving-man. The music enables the Chinamen to "transfigure" all the dreaded of the tragic scene. Art, no mom how tragic, how mournful, transfigures all catastrophe beside the wayward irresistible happiness of the hero.

Heroes act to tragic sincerity next to spunky gaiety and congregate loss next to a naughty facial gesture. This is the frequent intention of Lapis Lazuli.

Yeats' antipathy to the disorder of civilization is not one of horror, nor of unemotional impassivity, nor even of a would like for running away or transcendence, but of a large transmutation of tragical clobber into tragical joy.

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