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Adam's Curse by W. B. Yeats

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Three people gather at the end of summer — the speaker, a woman he loves, and her friend.

Composed
1903 · Victorian
Core theme
Beauty
The PoemFull text

Adam's Curse

W. B. Yeats, 1903

We sat together at one summer's end That beautiful mild woman your close friend And you and I, and talked of poetry. I said 'a line will take us hours maybe, Yet if it does not seem a moment's thought Our stitching and unstitching has been naught. Better go down upon your marrow bones And scrub a kitchen pavement, or break stones Like an old pauper in all kinds of weather; For to articulate sweet sounds together Is to work harder than all these and yet Be thought an idler by the noisy set Of bankers, schoolmasters, and clergymen The martyrs call the world.' That woman then Murmured with her young voice, for whose mild sake There's many a one shall find out all heartache In finding that it's young and mild and low. 'There is one thing that all we women know Although we never heard of it at school, That we must labour to be beautiful.' I said, 'It's certain there is no fine thing Since Adam's fall but needs much labouring. There have been lovers who thought love should be So much compounded of high courtesy That they would sigh and quote with learned looks Precedents out of beautiful old books; Yet now it seems an idle trade enough'. We sat grown quiet at the name of love. We saw the last embers of daylight die And in the trembling blue-green of the sky A moon, worn as if it had been a shell Washed by time's waters as they rose and fell About the stars and broke in days and years. I had a thought for no one's but your ears; That you were beautiful and that I strove To love you in the old high way of love; That it had all seemed happy, and yet we'd grown As weary hearted as that hollow moon.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Three people gather at the end of summer — the speaker, a woman he loves, and her friend. Their conversation shifts from the challenges of writing poetry to the effort involved in being beautiful, and finally to the work that love demands. By the end, the speaker quietly acknowledges that his efforts to love in a grand, traditional manner have left both him and the woman he loves feeling drained and empty. The poem ultimately explores how everything valuable — art, beauty, love — requires significant effort, and that such effort doesn’t always shield us from sadness.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. We sat together at one summer's end / That beautiful mild woman your close friend

    Editor's note

    Yeats paints a vivid picture with subtle detail: a late-summer evening featuring three individuals. The woman referred to as 'you' is Maud Gonne, the love of Yeats's life. The 'beautiful mild woman' is either Maud's friend Olivia Shakespear or her sister. The relaxed, conversational start — 'We sat together' — invites us right into the room with them.

  2. I said 'a line will take us hours maybe, / Yet if it does not seem a moment's thought

    Editor's note

    The speaker begins his argument about poetry: a great line should seem effortless, despite the hours spent 'stitching and unstitching' to create it. He likens the poet's effort to scrubbing floors or breaking stones—both hard, tiring tasks—and then lands the harsh punchline: society (bankers, schoolmasters, clergymen—'the martyrs call the world') views the poet as a lazy idler. The work is genuine but unseen, and that lack of visibility is the crux of the issue.

  3. That woman then / Murmured with her young voice, for whose mild sake

    Editor's note

    The friend replies softly, her voice — young, gentle, and low — reflecting the beauty she describes. She states that women instinctively understand, without needing instruction, that beauty requires effort. It's a subtle yet powerful assertion: the effort women put into being beautiful is as genuine and overlooked as the poet's craft. The stanza connects the qualities of her voice ('young and mild and low') with the insight she possesses.

  4. I said, 'It's certain there is no fine thing / Since Adam's fall but needs much labouring.

    Editor's note

    The speaker expands the argument to encompass everything. Since the Fall — the biblical curse on Adam to work for his sustenance — nothing worthwhile comes without effort. He focuses on love, referencing the old courtly tradition where lovers would sigh and recite poetry to one another. But he quickly undermines this notion, suggesting that such love now appears to be 'an idle trade.' The term 'idle' harkens back to his earlier criticism of poets — even the work of love can seem like idleness.

  5. We sat grown quiet at the name of love.

    Editor's note

    The word 'love' brings the conversation to a halt. Yeats moves from dialogue to imagery: the fading light and a moon that appears worn and shell-like, smoothed by 'time's waters.' The moon often carries heavy symbolism in Yeats's work, but here it feels weary — worn down by time instead of glowing with enigma. This image conveys the emotions that the speakers can no longer express with words.

  6. I had a thought for no one's but your ears; / That you were beautiful and that I strove

    Editor's note

    The poem's emotional heart comes through softly. The speaker shares, almost in secret, that he tried to love Maud Gonne in the traditional courtly manner — the same way he just dismissed as a pointless endeavor. And it didn't work. Both have become 'weary-hearted as that hollow moon.' The moon imagery from the previous stanza resonates here, symbolizing their relationship: once bright and full, now emptied by the passage of time and unreciprocated effort.

§04Tone & mood

How this poem feels

The tone begins in a conversational, almost argumentative way — Yeats is making a case, holding court — and then transitions into a softer elegy by the final stanza. Throughout the poem, there's a subtle bitterness, but it never crosses into self-pity. The ending feels resigned instead of angry: the speaker acknowledges that his labour of love, much like his work in poetry, created something meaningful but ultimately left him feeling drained.

§05Symbols & metaphors

Symbols & metaphors

The worn moon
The moon shows up at the emotional turning point of the poem, depicted as a shell shaped by the passage of time. It symbolizes the speaker's love for Maud Gonne — once bright and full, but now empty and worn down by years of unreturned affection. This image serves two purposes: it's both a lovely observation of nature and a revealing admission of fatigue.
Stitching and unstitching
Yeats's metaphor for the revision process in poetry highlights the patient, repetitive effort involved in crafting a line that feels natural. It subtly references Penelope from the Odyssey, who wove and unwove her tapestry to stall her suitors. This imagery presents artistic labor as both noble and thankless.
Adam's curse
The biblical punishment following the Fall states that humans must work hard for everything. Yeats weaves together three forms of labor—poetic, aesthetic, and romantic—asserting that each is equally challenging and often misinterpreted by society. The title sets the tone for the entire poem, reflecting on the sacrifices required to seek out beauty.
Summer's end
The season isn't merely a backdrop — it represents endings, dwindling light, and the flow of time. The dialogue unfolds at the boundary between warmth and chill, reflecting the poem's shift from lively debate to a quiet, tired acceptance.
The last embers of daylight
As the conversation turns to love, the light fades. The diminishing daylight signals a transition from intellectual debate to personal confession, deepening the poem's mournful tone — something is coming to an end that can't be reclaimed.

§06Form & structure

Form & structure

Meter
iambic pentameter
Rhyme
AABB CCDDEE FFGG HHIIJJ KK LLMMNN OO PPQQRR SS TTUUVV WW

§07Historical context

Historical context

Yeats wrote "Adam's Curse" in 1902, and it was published in his collection *In the Seven Woods* in 1904. The poem is based on a real evening he spent with Maud Gonne, the Irish nationalist and actress he loved, mostly unreciprocated, for much of his life, along with her companion. By 1902, Yeats had proposed to Maud Gonne and had already faced rejection. This poem is rooted in that long, painful story. It also shows Yeats's strong connection to the Pre-Raphaelite and Aesthetic movements, which emphasized that creating art requires hard work to make it look effortless. The "noisy set of bankers, schoolmasters, and clergymen" he criticizes symbolizes the Victorian bourgeoisie he viewed as opposed to artistic and romantic ideals. This poem marks a shift in Yeats's style, moving away from rich Celtic mysticism towards a simpler, more personal tone.

§08FAQ

Questions readers ask

The 'you' in this poem refers to Maud Gonne, the Irish nationalist and actress whom Yeats loved for many years. She turned down his marriage proposals time and again. The poem speaks directly to her, but the confession at the end feels like a private thought — something he wishes only she could hear.

Key quotes

Key quotes

a line will take us hours maybe, Yet if it does not seem a moment's thought Our stitching and unstitching has been naught.
This is Yeats's central statement on the paradox of poetic craft: true art must conceal its own labour and appear effortless. The sewing metaphor ('stitching and unstitching') is memorably humble and domestic, undercutting any romantic image of the inspired poet.
For to articulate sweet sounds together Is to work harder than all these and yet Be thought an idler by the noisy set Of bankers, schoolmasters, and clergymen The martyrs call the world.
Yeats widens his argument into social critique: the speaker bitterly contrasts the invisible, gruelling work of the poet with the contempt shown by respectable society. The list of 'bankers, schoolmasters, and clergymen' is deliberately pointed — pillars of practical, institutional life who cannot recognise artistic labour.
we must labour to be beautiful.
The woman's quiet interjection mirrors and extends the poem's core theme — beauty in any form (art, femininity) requires hidden effort. Its brevity and simplicity give it epigrammatic force, and it structurally links the labour of poetry to the labour demanded of women, deepening the poem's argument.
A moon, worn as if it had been a shell Washed by time's waters as they rose and fell About the stars and broke in days and years.
This is the poem's emotional turning point, where abstract argument gives way to melancholy imagery. The eroded moon becomes a symbol of exhaustion wrought by time, preparing the reader for the speaker's admission that his love, like the moon, has been worn hollow — the image does the emotional work the speaker cannot yet say directly.
That it had all seemed happy, and yet we'd grown As weary hearted as that hollow moon.
The poem's devastating final lines return to and complete the moon image, applying it personally to the speaker's failed courtship. The word 'hollow' echoes 'worn' and 'shell' from above, giving the ending a formal and emotional coherence — all the poem's labour (of poetry, of beauty, of love) has led only to this quiet exhaustion.

Citation

Cite this poem

MLA

Yeats, W. B. "Adam's Curse." 1903. Storgy, https://storgy.com/poems/adams-curse-william-butler-yeats/.

APA

Yeats, W. B. (1903). Adam's curse. Storgy. https://storgy.com/poems/adams-curse-william-butler-yeats/

Text source: en.wikisource.org

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