Abstract
Abstract This chapter examines Yeats’s engagement with the politics of Dublin public monuments. The opening recounts his failed efforts to commission a monument to the United Irishman Theobald Wolfe Tone on the corner of St. Stephen’s Green. The following section begins by situating a wider field of Revivalist sculpture writing from the late 1890s to early 1910s within the context of Irish independence movements. Patrick Pearse’s admiration of Oliver Sheppard in a series of articles for An Claidheamh Soluis (The Sword of Light) illustrates the political dimensions of Irish sculptural aesthetics in the period. The middle sections of the chapter trace a competing conception of public sculpture through Yeats’s work with Lady Gregory and Hugh Lane to establish a gallery of modern art in the city, and Yeats’s varied aesthetic responses to the Parnell monument wherein he finds himself at odds with the popular opinion of a changing Ireland. The closing sections consider the mid-career poetry of Yeats on statues and public monuments, “Easter, 1916,” “Nineteen Hundred and Nineteen,” and the turbulent political circumstances of the time.
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