Ambiguous Reverberations of Realism in Yeats
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From its beginning, the Abbey theatre thrived on the tension between its two ideals that were difficult to reconcile: its desire for poetic beauty and its need for representational veracity. It is well-known that Yeats had a strong aversion to naturalism (a disenchanted analytical version of realism popular in his time), equating it with the art form for the self-complacent and morally bankrupt middle classes. In this, he was not only aesthetically motivated but driven by a political and cultural agenda: to restore the lofty cultural tradition of Protestant Ascendancy amid the rampant materialism of Catholic middle classes and peasants. Nevertheless, Yeats knew naturalism was a force he could not simply conjure away. His life-long experiment with dramatic form and language largely amounts to his often arduous negotiations with realism/naturalism. This paper takes a broadly historical approach, focusing on several episodes that highlight Yeats’s ambiguous relationship with dramatic realism, including his attitude toward the middle classes, his defence of Synge, his evaluation of Ibsen, and his idea of poetic drama and national theatre. The paper also offers a critical analysis of some of his finest plays whose success was predicated on the ironic negation of his vision of poetic drama.
Abstract
From its beginning, the Abbey theatre thrived on the tension between its two ideals that were difficult to reconcile: its desire for poetic beauty and its need for representational veracity. It is well-known that Yeats had a strong aversion to naturalism (a disenchanted analytical version of realism popular in his time), equating it with the art form for the self-complacent and morally bankrupt middle classes. In this, he was not only aesthetically motivated but driven by a political and cultural agenda: to restore the lofty cultural tradition of Protestant Ascendancy amid the rampant materialism of Catholic middle classes and peasants. Nevertheless, Yeats knew naturalism was a force he could not simply conjure away. His life-long experiment with dramatic form and language largely amounts to his often arduous negotiations with realism/naturalism. This paper takes a broadly historical approach, focusing on several episodes that highlight Yeats’s ambiguous relationship with dramatic realism, including his attitude toward the middle classes, his defence of Synge, his evaluation of Ibsen, and his idea of poetic drama and national theatre. The paper also offers a critical analysis of some of his finest plays whose success was predicated on the ironic negation of his vision of poetic drama.
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