The Immanent Frame in Yeats’s Purgatory
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This essay explores the unsettling blend of the immanent and transcendent in Yeats’s Purgatory within a modern secular context. Charles Taylor’s concept of the “immanent frame” is invoked to characterize a modern way of experiencing the world within a self-sufficient natural order. At the same time, the immanent frame is open to transcendence and allows for diverse forms of belief to emerge. This new perspective may illuminate Yeats’s unique depiction of Purgatory as a cycle of self-perpetuating remorse within a world resistant to spiritual redemption. By analyzing the play’s stark minimalism, its focus on material reality, and its exploration of transgenerational trauma, I argue that Yeats transgresses the boundaries between the natural and supernatural, the immanent and transcendent, ultimately revealing how the desire for transcendence is inseparable from our immanent frame.
Abstract
This essay explores the unsettling blend of the immanent and transcendent in Yeats’s Purgatory within a modern secular context. Charles Taylor’s concept of the “immanent frame” is invoked to characterize a modern way of experiencing the world within a self-sufficient natural order. At the same time, the immanent frame is open to transcendence and allows for diverse forms of belief to emerge. This new perspective may illuminate Yeats’s unique depiction of Purgatory as a cycle of self-perpetuating remorse within a world resistant to spiritual redemption. By analyzing the play’s stark minimalism, its focus on material reality, and its exploration of transgenerational trauma, I argue that Yeats transgresses the boundaries between the natural and supernatural, the immanent and transcendent, ultimately revealing how the desire for transcendence is inseparable from our immanent frame.