What is this poem by Yeats saying? I ain't gotta clue.?

Yeats' poem is one of mysticism, and is typical of his greater project of trying to discover that which is quintessentially Irish in Celtic paganism. Thus in the first stanza he mentions"wood," "fire," moths," and a "stream" collectively because they call out to the four pagan elements of earth, fire, wind, and water, respectively; taken as a whole, they possess incantatory power. There seems to be something para-sensory in the tone of the lines as well, almost as if his journey is a spiritual one rather than one purely physical; it is an astral projection, a mystic wandering. This interpretation is confirmed in the allusion to the Celtic month of Coll (essentially our August); the hazel tree is sacred to that month, and cutting and peeling a hazel wand is a ritualistic preparation for astral projection according to the hermetic symbolism Yeats co-apts. By touching hazel wood, he communes with tree spirits who convey the gift of shape shifting. The fishing imagery is a delving into the unconscious, with the hazel wand as agent of that journey. The berry Yeats drops in the stream is his conscious self, the stream itself a traditional iconograph for the unconscious mind. We think also of the silver cord that connects spirit to body in so many world religions (think of Ecclesiastes 16:6-7 or the Upanishads) and shamanic traditions. The stream is also, by another transformation, Ireland's mythic past. The diving downward of the berry through the waters is an image of absorption in the unconscious, where that mythic past is encountered fully. The water is also a symbol of the womb, and Yeat's encounter with the fish that eats the Berry (Yeats himself) is a myth of dissolution and rebirth. The second stanza finds the silver trout, which has eaten the berry, transformed into a 'glimmering girl,' whether she be a goddess (perhaps Ishtar, since the eight-lined stanzaic structure itself has an unspoken incantatory power when laid beside the eight-rayed Star of Ishtar), Maude Gonne (Yeats' lover and muse, and herself an Irish revolutionary who shared many of Yeats' visions of a transformed Ireland), or the reader himself. It is significant that she calls him by name, since by ancient custom the one who names possesses power over that which is named. But the final stanza expresses the futility of Aengus' journey. There is a lassitude, and a sense of falling back to reality (and its deflated expectations) in this stanza. Yeats' grand vision to resurrect mythic Eire in the hearts of his countrymen is doomed to failure. The moon of the closing lines, a traditional feminine symbol in many traditions, when combined with the silver apples, expresses the ripened possibility of that transformed consciousness, whereas the golden apples of the sun express the daylight world's abrogation of that potential. The sun, a traditional masculine symbol, is one of arrogance also, and it is that which Yeats saw as one of the great stumbling blocks to the realization of his vision. It is directly an allusion to the Sephirotic Tree of Jewish mysticism (Kabala). It would help you to know that Yeats lived in a restored tower — Thoor Ballylee — dating to the 14th century and was an ardent student of mystical traditions; this poem is one of many with similar themes and iconographic elements.