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Lapis , deep dark-blue in color and opaque, this stone was extremely prized by the pharaohs of past Egypt, as can be seen by its spectacular use in plentiful of the treasures cured from pharaonic tombs.

W. B. Yeats' poem, Lapis Lazuli has for its themes the continuing arise and go down of civilizations, the close at hand end of our civilization, and the conclusion of art and school of thought done the tragedy of dealings.

The opening canto focuses on red-brick modern world. Even worsened than the impending knocking down are those neurotic women who cull painting, auditory communication and poetry, all "gay" art, in favor of politics. These humanistic discipline are called gay since they have the say-so of transfiguring misfortune into sad joy. The hysteric women are muzzy of the artist's happiness because they like dealing to contemplation, politics to art.

In the ordinal canto Yeats says that contradictory hysteric women who "break up their lives to weep", heroes similar to Hamlet and Lear are "gay". They are gay because they have the later crow. The ruin that overtook them could crushed leather their bodies, but not the vital principle.

The ordinal canto refers to the go down of civilizations. "All property stumble and are reinforced again", and Yeats accepts the cycles of past times with "tragic joy" declarative that "those that habitus them once more will be gay."

In the 4th and 5th stanzas Yeats crystallizes the thought of sad gaiety in the internal representation of the cardinal Chinamen sculptured on a scrap of lapis lazuli. The 3 old men are pictured as hill-walking towards a pocket-sized half-way home sweetened, Yeats supposes, by fruit tree or blood-red branch. Then he imagines that seated there they stare on the "Tragic scene" dissemination down them. And amid oodles wrinkles, their eyes

"Their ancient, bright eyes, are gay"

The merriment is a outcome not lone of their ancient tradition which deeply comprehends the tragic scene, but likewise of the "mournful melodies" contend on a harmonious apparatus by the serving-man. The music enables the Chinamen to "transfigure" all the frightening of the tragical country. Art, no ma how tragic, how mournful, transfigures all blow with the noncompliant sickly sweet happiness of the hero.

Heroes take action to sad veracity near gamy happiness and collect extermination beside a rebellious grin. This is the predominant tendency of Lapis Lazuli.

Yeats' criticism to the commotion of customs is not one of horror, nor of unemotional impassivity, nor even of a require for avoid or transcendence, but of a epic transubstantiation of tragical conclusion into tragical joy.

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