William Butler Yeats imagined his mediaeval stone tower, which he purchased in 1916, as a living organism. It was “[h]alf dead at the top” and prone to ageing and decay, but its stonework contained crevices that were alive with birds and bees, and it contained the potential for resuscitation, restoration, and recovery (line 12; “Blood and the Moon”). The restoration of his tower was also a restoration back to health, as Yeats simultaneously recovered his own health after the shocks of the 1916 Rising and the tumultuous circumstances of his marriage in the years after its purchase. At the same time, he was tending to the primary aim of the Irish Literary Revival: to resuscitate and revive to full health an ailing Irish heritage. To Yeats, this meant joining different elements that might grow together: the semi-submerged Irish tradition could knit with the “bloody, arrogant” energies of the “men-at-arms, cross-gartered to the knees,” who built the tower, and with the best courtly and intellectual traditions of the Anglo-Irish world as it was represented by great houses like the nearby Coole Park (line 3; “Blood and the Moon”; line 82; “The Tower”). Through healing Thoor Ballylee, by extension, he was repairing a fractured Ireland following the Easter Rising and a wounded world following the First World War. Not only is the tower somewhere that Yeats restored, it is also a place that could, in his imagination, contribute to wider spiritual and societal restoration. Ideas of healing, revival, and recovery were built into the restored walls of Thoor Ballylee itself.