“The Stolen Child” by W.B. Yeats: A Critical Analysis

Introduction: “The Stolen Child” by W.B. Yeats

“The Stolen Child” by W.B. Yeats first appeared in The Wanderings of Oisin and Other Poems in 1889 and remains one of his most celebrated early works. Rooted in Irish folklore and mythology, the poem explores the enchanting yet melancholic theme of childhood innocence and the lure of the mystical world, as faeries entice a child away from the sorrowful reality of human existence. Its refrain—“Come away, O human child! / To the waters and the wild / With a faery, hand in hand, / For the world’s more full of weeping than you can understand.”—captures the poem’s central contrast between the allure of an otherworldly paradise and the inevitable suffering of life. Yeats’ use of lyrical, dreamlike imagery and evocative natural landscapes, such as Sleuth Wood and Glen-Car, enhances the sense of escapism, making it a poignant meditation on loss and longing. The poem’s enduring popularity in literature classrooms stems from its rich symbolism, musical quality, and its reflection of Yeats’ deep engagement with Irish mysticism and Romanticism.

Text: “The Stolen Child” by W.B. Yeats

Where dips the rocky highland
Of Sleuth Wood in the lake,
There lies a leafy island
Where flapping herons wake
The drowsy water rats;
There we’ve hid our faery vats,
Full of berrys
And of reddest stolen cherries.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

Where the wave of moonlight glosses
The dim gray sands with light,
Far off by furthest Rosses
We foot it all the night,
Weaving olden dances
Mingling hands and mingling glances
Till the moon has taken flight;
To and fro we leap
And chase the frothy bubbles,
While the world is full of troubles
And anxious in its sleep.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

Where the wandering water gushes
From the hills above Glen-Car,
In pools among the rushes
That scarce could bathe a star,
We seek for slumbering trout
And whispering in their ears
Give them unquiet dreams;
Leaning softly out
From ferns that drop their tears
Over the young streams.
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than you can understand.

Away with us he’s going,
The solemn-eyed:
He’ll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace into his breast,
Or see the brown mice bob
Round and round the oatmeal chest.
For he comes, the human child,
To the waters and the wild
With a faery, hand in hand,
For the world’s more full of weeping than he can understand.

Annotations: “The Stolen Child” by W.B. Yeats

Line	Explanation	Literary Devices
Where dips the rocky highland	The poem begins with vivid imagery describing a secluded, magical place. “Dips” suggests a downward motion, leading to a mystical setting.	Imagery, Personification
Of Sleuth Wood in the lake,	Sleuth Wood is a real place in Ireland, adding authenticity. The mention of “lake” enhances the fairy-tale-like setting.	Imagery, Setting
There lies a leafy island	A hidden, untouched place symbolizing the faery realm, separate from the human world.	Imagery, Symbolism
Where flapping herons wake	Personification of the herons (“wake”) adds to the liveliness of nature, making it seem conscious.	Personification, Imagery
The drowsy water rats;	“Drowsy” suggests sleepiness, enhancing the tranquil and dreamy quality of the scene.	Imagery, Mood
There we’ve hid our faery vats,	The faeries are portrayed as secretive beings, emphasizing their mysterious nature.	Mysticism, Secrecy
Full of berrys	The mention of berries adds a sensory detail, enhancing the idyllic quality of the faery world.	Imagery, Sensory Language
And of reddest stolen cherries.	The word “stolen” introduces a sense of mischief, hinting at the faeries’ playful yet unsettling nature.	Diction, Symbolism
Come away, O human child!	A direct invitation from the faeries, highlighting the poem’s central conflict—temptation vs. reality.	Apostrophe, Direct Address
To the waters and the wild	Symbolizes nature as a place of freedom, but also of the unknown.	Symbolism, Alliteration
With a faery, hand in hand,	The image of holding hands suggests guidance, but also manipulation.	Imagery, Symbolism
For the world’s more full of weeping than you can understand.	A melancholic contrast between the harsh human world and the mystical faery realm.	Juxtaposition, Pathos
Where the wave of moonlight glosses	Creates a magical and dreamlike effect, reinforcing the mystical setting.	Imagery, Personification
The dim gray sands with light,	Contrast between “dim gray” and “light” suggests fleeting beauty.	Contrast, Imagery
Far off by furthest Rosses	Expands the mystical geography, deepening the magical setting.	Setting, Imagery
We foot it all the night,	“Foot it” means to dance, adding to the faery-like enchantment.	Archaic Language, Movement Imagery
Weaving olden dances	Suggests tradition and timelessness, as if the faeries are eternal beings.	Symbolism, Repetition
Mingling hands and mingling glances	Repetition emphasizes unity and enchantment.	Repetition, Imagery
Till the moon has taken flight;	Personification of the moon as if it is a living being.	Personification, Imagery
To and fro we leap	Depicts the faeries as agile and light-footed.	Imagery, Movement
And chase the frothy bubbles,	Childlike imagery reinforcing a sense of playfulness.	Imagery, Symbolism
While the world is full of troubles	Contrasts the carefree faery world with the burdens of the human world.	Juxtaposition, Contrast
And anxious in its sleep.	Personification of the world, making it seem restless and troubled.	Personification, Mood
Where the wandering water gushes	Alliteration and movement imagery create a flowing, dynamic scene.	Alliteration, Imagery
From the hills above Glen-Car,	Refers to a real Irish landscape, grounding the fantasy in reality.	Setting, Realism
In pools among the rushes	Suggests a calm, secluded place, reinforcing the mystical tone.	Imagery, Setting
That scarce could bathe a star,	Hyperbolic description emphasizing the smallness of the pools.	Hyperbole, Imagery
We seek for slumbering trout	Faeries interacting with nature, hinting at their supernatural influence.	Personification, Imagery
And whispering in their ears	Personification of the trout, making them seem enchanted.	Personification, Symbolism
Give them unquiet dreams;	The faeries disrupt natural peace, adding an eerie undertone.	Juxtaposition, Mysticism
Leaning softly out	A gentle, secretive movement reinforcing the mystical tone.	Imagery, Movement
From ferns that drop their tears	Personification of nature, reinforcing the theme of sorrow.	Personification, Symbolism
Over the young streams.	Symbolizing innocence and purity, tying into the theme of childhood.	Symbolism, Imagery
Away with us he’s going,	Final confirmation that the child has been taken away.	Resolution, Climax
The solemn-eyed:	Describes the child’s emotional state—serious and detached.	Imagery, Characterization
He’ll hear no more the lowing	A loss of familiar, comforting sounds from home.	Loss, Nostalgia
Of the calves on the warm hillside	Evokes rural life, reinforcing the innocence the child is leaving behind.	Imagery, Pastoral Theme
Or the kettle on the hob	Symbolizes warmth, safety, and home.	Symbolism, Domestic Imagery
Sing peace into his breast,	Personification of the kettle, emphasizing comfort.	Personification, Mood
Or see the brown mice bob	A small, lively detail evoking warmth and familiarity.	Imagery, Movement
Round and round the oatmeal chest.	Suggests routine and security, contrasting with the unknown faery world.	Symbolism, Contrast
For he comes, the human child,	Reinforces the child’s transition from human to faery world.	Repetition, Symbolism
To the waters and the wild	Final repetition of the refrain, emphasizing the theme of escapism.	Refrain, Symbolism
With a faery, hand in hand,	Last image of guidance or possibly manipulation.	Imagery, Ambiguity
For the world’s more full of weeping than he can understand.	Final melancholic contrast between fantasy and reality.	Juxtaposition, Pathos

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Literary And Poetic Devices: “The Stolen Child” by W.B. Yeats

Literary Device	Definition	Example & Explanation
Alliteration	Repetition of consonant sounds at the beginning of words.	“Where the wandering water gushes” – The repetition of the ‘w’ sound creates a flowing, musical effect.
Ambiguity	A phrase or passage that has multiple interpretations.	“With a faery, hand in hand” – Can be interpreted as a gentle guide or a manipulative force.
Apostrophe	A direct address to an absent person, object, or abstract idea.	“Come away, O human child!” – The faeries directly call out to the child, inviting them to leave.
Archaic Language	Use of old-fashioned words or phrases.	“We foot it all the night” – ‘Foot it’ means to dance, reflecting older linguistic styles.
Assonance	Repetition of vowel sounds.	“The drowsy water rats” – The repetition of the ‘o’ sound enhances the dreamy tone.
Contrast	The placement of opposing ideas or images close to each other.	“For the world’s more full of weeping than you can understand.” – The sorrow of the human world contrasts with the beauty of the faery realm.
Diction	Choice of words to create a specific effect.	“And of reddest stolen cherries.” – The word ‘stolen’ adds a mischievous tone, showing the faeries’ nature.
Enjambment	Continuation of a sentence beyond a line break.	“Leaning softly out / From ferns that drop their tears” – The meaning spills over into the next line, mimicking the faery’s movement.
Hyperbole	Exaggeration for effect.	“That scarce could bathe a star” – Suggests that the water is so shallow it can barely reflect a star.
Imagery	Vivid descriptions that appeal to the senses.	“Where dips the rocky highland / Of Sleuth Wood in the lake” – Creates a strong visual of the setting.
Irony	A contrast between expectations and reality.	“For the world’s more full of weeping than you can understand.” – The faeries promise escape from sorrow, but their world may not be free from it either.
Juxtaposition	Placing two contrasting ideas or images together.	“To the waters and the wild / With a faery, hand in hand” – The wild, untamed nature contrasts with the gentleness of the guiding faery.
Metaphor	A direct comparison between two unlike things.	“And whispering in their ears / Give them unquiet dreams” – The faeries’ whispers metaphorically represent how supernatural forces disturb nature.
Mood	The emotional atmosphere created by the poem.	The mood shifts between enchantment and melancholy, as seen in “Come away, O human child!”
Personification	Attributing human qualities to non-human things.	“Where flapping herons wake / The drowsy water rats” – The herons are described as if they intentionally wake the rats.
Refrain	A repeated phrase or stanza in a poem.	“Come away, O human child!” – This phrase is repeated, reinforcing the faeries’ call.
Repetition	Repeating words or phrases for emphasis.	“With a faery, hand in hand” – Repeated throughout the poem to emphasize the faery’s presence.
Rhyme	Words with similar end sounds.	“Where dips the rocky highland / Of Sleuth Wood in the lake, / There lies a leafy island / Where flapping herons wake.” – Uses end rhyme to create a musical flow.
Symbolism	Use of objects or images to represent deeper meanings.	“The waters and the wild” – Represents escape, freedom, and the unknown.
Tone	The poet’s attitude toward the subject.	The tone is both whimsical and melancholic, as the faeries offer escape but at the cost of losing the familiar human world.

Themes: “The Stolen Child” by W.B. Yeats

• The Loss of Innocence and Childhood: One of the most poignant themes in “The Stolen Child” is the loss of innocence and childhood, as the faeries lure a child away from the human world to their mystical realm. The child represents purity and naivety, while the faeries symbolize both enchantment and deception. The refrain—“Come away, O human child! / To the waters and the wild / With a faery, hand in hand”—suggests an irresistible invitation to leave behind the hardships of reality. However, as the poem unfolds, it becomes evident that this departure is not entirely joyous. The final stanza lists all the familiar, comforting aspects of home that the child will lose: “He’ll hear no more the lowing / Of the calves on the warm hillside / Or the kettle on the hob / Sing peace into his breast.” The imagery of rural life emphasizes the warmth and security the child leaves behind, making his departure bittersweet. The faeries’ world may seem magical, but it comes at the cost of abandoning the familiar comforts of childhood, illustrating the inevitable transition from innocence to experience.
• The Contrast Between Reality and Fantasy: Yeats presents a stark contrast between the sorrowful human world and the seemingly idyllic faery realm. The refrain repeatedly reminds us that the human world is “more full of weeping than you can understand,” positioning the faery world as an escape from sadness. This contrast is further developed through imagery: the human world is depicted as troubled and weary, while the faery world is filled with “olden dances,” “frothy bubbles,” and “moonlight glosses.” However, there is an underlying ambiguity—though the faery world appears enticing, it is also elusive and deceptive. The faeries do not explicitly promise happiness; instead, they offer an alternative that may not be as perfect as it seems. This theme reflects Yeats’ broader fascination with Irish folklore, where the faery realm often represents both beauty and danger. The poem ultimately raises the question of whether escape into fantasy is truly desirable, or if it is merely an illusion that comes with its own sacrifices.
• The Power of Nature and the Supernatural: Nature plays a central role in the poem, acting as both a physical setting and a mystical force that blurs the line between reality and the supernatural. The faery world is deeply intertwined with nature, as seen in descriptions of “where dips the rocky highland / Of Sleuth Wood in the lake,” and “where the wandering water gushes / From the hills above Glen-Car.” The references to water, moonlight, ferns, and streams create a dreamlike atmosphere, reinforcing the idea that the faery realm exists just beyond the tangible world. This theme reflects Yeats’ Romantic influences and his deep interest in Celtic mythology, where nature often harbors magical beings. The faeries themselves manipulate natural elements—“whispering in their ears / Give them unquiet dreams”—showing their ability to enchant and disturb. Through these supernatural elements, Yeats suggests that nature is not just a backdrop but a living entity filled with mysterious and unseen forces.
• The Theme of Escapism and its Consequences: At its core, “The Stolen Child” explores the idea of escapism—an attempt to flee from the sorrows of life into a seemingly perfect world. The child, drawn by the faeries’ invitation, is seduced by the promise of a carefree existence. The faery realm, filled with dance, moonlight, and bubbling waters, represents an alluring escape from the struggles of human existence. However, the final stanza introduces a shift in tone, highlighting all that the child will leave behind. The repetition of “For the world’s more full of weeping than he can understand” reinforces the idea that the child does not yet comprehend the full weight of his choice. By leaving, he not only escapes sorrow but also loses the warmth and familiarity of home. This reflects a deeper philosophical question: is escape truly liberating, or does it come at the cost of something essential? Yeats suggests that while fantasy and escape may be tempting, they are not without consequences—one cannot abandon reality without sacrificing something meaningful in return.

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Literary Theories and “The Stolen Child” by W.B. Yeats

Literary Theory	Definition	Application to “The Stolen Child”
Psychoanalytic Theory	Focuses on unconscious desires, childhood experiences, and repressed emotions.	The faeries’ call to “Come away, O human child!” can be interpreted as the unconscious desire to escape from reality. The child’s loss of innocence and transition to another world reflects Freud’s concept of repression and longing for an idealized past.
Romanticism	Emphasizes nature, emotion, imagination, and the supernatural.	The poem glorifies the mystical world of the faeries, depicting nature as a realm of wonder and enchantment. Descriptions such as “Where dips the rocky highland” and “The waters and the wild” highlight Yeats’ Romantic idealization of the natural world.
Postcolonial Theory	Examines themes of cultural identity, colonial influence, and resistance.	The faery world can symbolize Ireland’s mythological past, while the “weeping” world represents the colonized Irish experience under British rule. The child’s departure may reflect the loss of Irish cultural heritage, a recurring theme in Yeats’ work.
Mythological/Archetypal Criticism	Analyzes universal symbols, myths, and archetypes in literature.	The faeries serve as archetypal trickster figures, luring the child away from home. The journey from the mortal world to the faery realm mirrors common mythological narratives, emphasizing themes of transformation and otherworldly seduction.

Critical Questions about “The Stolen Child” by W.B. Yeats

• Is the faery world a true paradise, or is it deceptive in nature?
• At first glance, the faery world in “The Stolen Child” appears to be an enchanting and magical place, offering the child an escape from the sorrowful human world. The faeries describe a realm filled with “olden dances,” “frothy bubbles,” and “moonlight glosses,” creating an idyllic and whimsical atmosphere. However, there are subtle hints that their invitation may not be entirely benevolent. They lure the child away by emphasizing the sadness of human existence, repeating the refrain, “For the world’s more full of weeping than you can understand.” Yet, they never promise happiness—only an alternative existence. The final stanza makes it clear that the child is leaving behind warmth and comfort, symbolized by the “kettle on the hob” and the “calves on the warm hillside.” This raises a fundamental question: is the faery world truly a utopia, or is it an illusion that seduces the innocent into abandoning something far more valuable?
• What does the poem suggest about the nature of childhood and innocence?
• Yeats presents childhood as a state of purity and naivety, but also as something fragile and susceptible to external influences. The child in the poem does not make a conscious decision to leave; rather, he is “stolen”—a term that implies loss rather than choice. This reflects a Romantic ideal of childhood as an innocent yet vulnerable state, one that is inevitably disrupted by external forces. The faeries, who symbolize the allure of imagination and escapism, entice the child away from a familiar world of domestic security. Lines such as “And see the brown mice bob / Round and round the oatmeal chest” depict a simple, ordinary existence that is about to be abandoned. Is the child’s departure a metaphor for the inevitable transition from innocence to experience? Or does Yeats suggest that childhood should be protected from the temptations of escapism and fantasy? The poem leaves these questions open to interpretation, making us reflect on the delicate balance between innocence and the influences that shape it.
• How does the poem reflect Yeats’ views on Irish mythology and cultural identity?
• Yeats was deeply interested in Irish folklore and mythology, and “The Stolen Child” can be seen as an exploration of Ireland’s mythic past. The faeries, as supernatural beings, represent the mystical elements of Celtic tradition, and their world is deeply connected to nature, with references to “Sleuth Wood,” “Glen-Car,” and “the wandering water.” However, there is also a sense of loss in the poem, which could be interpreted as a reflection of Ireland’s struggle to maintain its cultural identity in the face of British colonial rule. The child’s departure might symbolize the erosion of Irish traditions, as he is drawn away from his home and heritage. The contrast between the “weeping” human world and the faery realm may also reflect Yeats’ nostalgia for a mythical Ireland that was fading under modern influence. Does the poem celebrate the magic of Irish folklore, or does it mourn the loss of a simpler, more rooted cultural identity? In raising this question, Yeats positions “The Stolen Child” within a broader conversation about Ireland’s past, present, and future.
• What is the significance of repetition and refrain in the poem?
• The repeated refrain, “Come away, O human child! / To the waters and the wild / With a faery, hand in hand,” plays a crucial role in the poem’s structure and emotional impact. By constantly reiterating the faeries’ call, Yeats creates a hypnotic, almost incantatory effect, mirroring the faeries’ enchantment of the child. The repetition reinforces the idea that the invitation is persistent and irresistible, drawing the child further into the faery realm. Additionally, the final line of each stanza—“For the world’s more full of weeping than you can understand.”—contrasts the apparent joy of the faery world with the sorrows of reality. This repetition begs the question: does the poem suggest that all human existence is inherently tragic, or is this simply a persuasive tactic used by the faeries to lure the child away? The refrain becomes both a comforting and unsettling presence in the poem, leaving the reader to ponder its deeper implications.

Literary Works Similar to “The Stolen Child” by W.B. Yeats

1. “La Belle Dame sans Merci” by John Keats – Like “The Stolen Child,” this poem explores the theme of supernatural beings luring humans away, as a mysterious faery woman seduces and ultimately dooms a knight.
2. “Kubla Khan” by Samuel Taylor Coleridge – Both poems create a dreamlike, mystical world filled with rich natural imagery and supernatural elements, blurring the line between fantasy and reality.
3. “The Listeners” by Walter de la Mare – This poem shares “The Stolen Child”’s eerie atmosphere and sense of mysterious, unseen beings influencing the human world.
4. “The Fairies” by William Allingham – A direct parallel to Yeats’ poem, this work also depicts faeries luring away a child, emphasizing both their enchantment and danger.
5. “Goblin Market” by Christina Rossetti – Like “The Stolen Child,” this poem features magical creatures tempting the innocent with promises of a better world, raising questions about deception and loss.

Representative Quotations of “The Stolen Child” by W.B. Yeats

Quotation	Context	Theoretical Perspective
“Come away, O human child! / To the waters and the wild / With a faery, hand in hand,”	Repeated refrain that serves as the faeries’ invitation to the child, emphasizing the theme of escapism and seduction.	Psychoanalytic Theory – Represents unconscious desires, longing for escape, and the manipulation of innocence.
“For the world’s more full of weeping than you can understand.”	The faeries justify their invitation by highlighting the sorrow and suffering of the human world.	Romanticism – Idealizes escape from suffering, portraying nature and fantasy as an alternative to human misery.
“Where dips the rocky highland / Of Sleuth Wood in the lake,”	Begins the poem with vivid natural imagery, setting the scene for the mystical faery world.	Ecocriticism – Highlights Yeats’ fascination with nature and its mystical qualities.
“There we’ve hid our faery vats, / Full of berrys / And of reddest stolen cherries.”	Depicts the faery world as a place of abundance and temptation, but the word ‘stolen’ suggests deception.	Postcolonial Theory – Could symbolize cultural loss, as the child is drawn away from their heritage.
“Where the wave of moonlight glosses / The dim gray sands with light,”	Magical description of the faery world, blending light and darkness, beauty and mystery.	Aestheticism – Reflects Yeats’ artistic emphasis on beauty, dreamlike imagery, and sensory appeal.
“While the world is full of troubles / And anxious in its sleep.”	Contrasts the carefree faery realm with the burdens of reality, reinforcing the theme of escapism.	Modernism – Highlights a disillusionment with the real world and a longing for alternative realities.
“And whispering in their ears / Give them unquiet dreams;”	The faeries influence nature itself, showing their supernatural power and hinting at their potentially sinister nature.	Mythological/Archetypal Criticism – The faeries act as trickster figures, influencing the fate of others.
“For he comes, the human child, / To the waters and the wild,”	Final confirmation that the child has been taken, reinforcing the irreversible nature of his journey.	Psychoanalytic Theory – Represents a transition from innocence to the unknown, possibly symbolizing repression or transformation.
“He’ll hear no more the lowing / Of the calves on the warm hillside,”	Describes the comforting, familiar sounds of home that the child is leaving behind.	Nostalgia and Loss – Reflects Yeats’ recurring theme of longing for the past and the cost of leaving home.
“Or the kettle on the hob / Sing peace into his breast,”	Symbolizes warmth, comfort, and domestic security, which is now lost.	Domestic Symbolism – Highlights the contrast between home and the unknown, reinforcing the child’s sacrifice.

Suggested Readings: “The Stolen Child” by W.B. Yeats

1. Caswell, Robert W. “YEATS’THE STOLEN CHILD.” Explicator 25.8 (1967).
2. Regan, Stephen. “W.B. Yeats: Irish Nationalism and Post-Colonial Theory.” Nordic Irish Studies, vol. 5, 2006, pp. 87–99. JSTOR, http://www.jstor.org/stable/30001545. Accessed 12 Feb. 2025.
3. Sundmark, Björn. “Yeats and the Fairy Tale.” Nordic Irish Studies, vol. 5, 2006, pp. 101–08. JSTOR, http://www.jstor.org/stable/30001546. Accessed 12 Feb. 2025.
4. D. S. Savage. “The Aestheticism of W. B. Yeats.” The Kenyon Review, vol. 7, no. 1, 1945, pp. 118–34. JSTOR, http://www.jstor.org/stable/4332576. Accessed 12 Feb. 2025.
5. BORNSTEIN, GEORGE. “W. B. YEATS’S POETRY OF AGING.” The Sewanee Review, vol. 120, no. 1, 2012, pp. 46–61. JSTOR, http://www.jstor.org/stable/41337926. Accessed 12 Feb. 2025.