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Lapis , wide chromatic in colour and opaque, this gemstone was highly prized by the pharaohs of past Egypt, as can be seen by its outstanding use in various of the treasures healed from swayer tombs.

W. B. Yeats' poem, Lapis Lazuli has for its themes the persistent soar and plunge of civilizations, the close at hand end of our civilization, and the triumph of art and principles all over the misfortune of trial.

The maiden canto focuses on present-day nowadays. Even worse than the close annihilation are those psychoneurotic women who slight painting, music and poetry, all "gay" art, in benefit of political relation. These bailiwick are called gay since they have the momentum of transfiguring cataclysm into tragic joy. The hysteric women are anaemic of the artist's merriment because they prefer management to contemplation, politics to art.

In the ordinal text Yeats says that unlike neurotic women who "break up their lives to weep", heroes resembling Hamlet and Lear are "gay". They are gay because they have the ending hoot. The catastrophe that overtook them could leather their bodies, but not the essence.

The third verse refers to the decline of civilizations. "All holding drop and are reinforced again", and Yeats accepts the cycles of history beside "tragic joy" declarative that "those that create them over again will be gay."

In the quaternary and 5th stanzas Yeats crystallizes the content of tragical merriment in the imitation of the three Chinamen inscribed on a particle of lapis opaque gem. The cardinal old men are visualised as climbing towards a trifling half-way abode sweetened, Yeats supposes, by plum tree or chromatic arm. Then he imagines that seated in that they gawp on the "Tragic scene" spread down them. And amid abundant wrinkles, their eyes

"Their ancient, scintillating eyes, are gay"

The gaiety is a end product not only of their past sense which deeply comprehends the sad scene, but as well of the "mournful melodies" vie on a metrical device by the serving-man. The music enables the Chinamen to "transfigure" all the frightening of the sad area. Art, no mum how tragic, how mournful, transfigures all misfortune near the insubordinate irresistible merriment of the hero.

Heroes respond to tragical reality with fearless merriment and assemble passing with a rebellious facial gesture. This is the frequent gist of Lapis Lazuli.

Yeats' allergic reaction to the disorder of the world is not one of horror, nor of stoic impassivity, nor even of a ache for hurried departure or transcendence, but of a large conversion of tragic hammering into tragic joy.

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