Panel C - Yeatsian Transnational Transits (Charles Armstrong)

Summary

This lecture explores the profound influence of Henrik Ibsen and Norwegian theater on W.B. Yeats and the Irish Literary Revival, focusing on the development of the Abbey Theatre. It traces Yeats’s evolving relationship with Ibsen, highlighting his admiration for Ibsen’s combination of intellectual depth and popular appeal. The speaker also examines how Yeats saw Norway’s national theater as a model for Ireland, both nations grappling with their identities amid European materialism. Ultimately, Yeats’s engagement with Ibsen and other international traditions helped shape the artistic vision of the Irish literary movement.

Takeaways

• 😀 Yates's initial skepticism toward the idea of Irish-Norwegian literary connections evolved over time, ultimately leading him to explore this relationship more seriously.
• 😀 Yates's engagement with Ibsen and Norwegian theater was formative in shaping the Abbey Theatre’s direction during the early 20th century.
• 😀 Yates believed that the Irish National Theater should draw inspiration from Norway's national literary movement, which had already successfully established its own cultural identity.
• 😀 Yates admired Ibsen for his ability to combine intellectual depth with popular appeal, a quality he felt was crucial for the development of Irish drama.
• 😀 Yates considered Ibsen and Norwegian dramatists as key models for Irish playwrights, seeing them as examples of how literature and theater could reflect national identity.
• 😀 Yates's early views on Norwegian theater were shaped by a sense of spiritual and romantic kinship with the country, contrasting it with the materialism of England and France.
• 😀 The creation of the Norwegian National Theater in 1899 marked a milestone in the country's cultural development, which was closely followed by Yates as an example for Ireland.
• 😀 Yates’s reference to Norway as a role model for Ireland’s theater was also reflected in his praise of Ibsen's and Bjørnson's works, which embodied nationalistic themes and rootedness in place.
• 😀 Yates's criticism of Ibsen’s later works can be seen as a strategic attempt to distance the Abbey Theater from a purely realist tradition, even though he acknowledged Ibsen’s influence on his own work.
• 😀 The connection between Yates’s early support for Ibsen and his later interest in the Japanese Noh theater demonstrates his consistent approach of adopting external artistic models for Irish self-expression.

Q & A

What is the main focus of the speaker’s presentation?

The main focus of the presentation is the influence of Henrik Ibsen and Norwegian theatre on W.B. Yeats and the formation of the Irish Abbey Theatre. The speaker explores how Yeats admired and critiqued Ibsen’s works, using them as a model for Irish theatre development.

How does the speaker relate Ibsen’s works to Yeats’s vision for the Irish theatre?

The speaker explains that Yeats saw Ibsen as a key figure in creating a national theatre rooted in intellectual and spiritual values, which aligned with Yeats’s vision for an Irish theatre distinct from the materialistic, commercial theatre of England and France.

Why did Yeats initially resist the idea of Ibsen’s influence on Irish drama?

Yeats was initially resistant to the idea of Ibsen’s influence because he associated Ibsen’s realism with social messaging, which he felt conflicted with his own romantic ideals for Irish drama. Yeats also disliked the idea of being too influenced by another country's playwrights.

What was the significance of the 1899 *Belan* article by Yeats?

In the 1899 *Belan* article, Yeats expressed his vision for a new Irish theatre, pointing to Norway as a model. He advocated for an Irish theatre that would be both literary and popular, drawing inspiration from Norwegian drama and Ibsen’s works, which he saw as intellectual and national in nature.

How did Yeats view the relationship between Ireland and Norway in terms of theatre?

Yeats viewed Ireland and Norway as having similar cultural and intellectual trajectories. Both countries, in his view, were marginal to the dominant European powers and shared a romantic and spiritual dimension, which he believed was essential for creating a unique national theatre.

What role did the concept of 'romanticism' play in Yeats’s perspective on theatre?

Romanticism played a crucial role in Yeats’s perspective on theatre, as he believed that Irish drama, like Norwegian drama, should be rooted in a national and spiritual identity rather than conform to the materialism and scientific approach seen in English and French theatre.

How did Yeats reconcile the tension between realism and romanticism in theatre?

While Yeats appreciated Ibsen’s romantic works like *Brand* and *Peer Gynt*, he was critical of Ibsen’s later realist plays. The tension between realism and romanticism in Yeats's thinking reflects his struggle to reconcile modern drama’s intellectual rigor with his vision of a more spiritually rooted theatre.

What influence did Norwegian playwrights like Ibsen and Bjørnson have on Yeats?

Norwegian playwrights, particularly Ibsen and Bjørnson, had a significant influence on Yeats by offering a model for a theatre that combined intellectual depth with national pride. Ibsen’s exploration of national identity and his creation of plays that were both literary and popular inspired Yeats to envision a similar theatre for Ireland.

Why did Yeats mention Ibsen in his 1923 Nobel Prize speech?

In his 1923 Nobel Prize speech, Yeats acknowledged his indebtedness to the Scandinavian nations, particularly Norway, for their influence on his work. He specifically mentioned Ibsen and Bjørnson for their role in shaping the Irish National Theatre, emphasizing their contribution to the intellectual and national character of theatre.

What does the speaker mean by Yeats’s use of external models for his artistic development?

The speaker suggests that Yeats’s use of external models, like Ibsen’s works and later the Japanese No theatre, was part of Yeats’s larger strategy to develop a unique, national theatre. By drawing on these international influences, Yeats sought to blend intellectual and national themes in Irish drama while remaining distinct from foreign traditions.