Abstract

Like Calvary which is an overtly heretical reinterpretation of Christian mythology, Yeats realised that the subject matter of The Resurrection made it unsuitable for the public stage in England and Ireland. The form developed for the earlier dance plays proved a very practical vehicle for the material and permitted it to be produced effectively for a small audience of initiates outside a conventional theatre. The main action presents the revelation of man’s divinity in the near orthodox story of Christ’s miraculous resurrection from the dead and provides a mirror image or mask of the death of Christ in Calvary as a projection of god’s humanity. There is something more to the play, however, than a mere retelling of the gospel story. The parallel imagery of Dionysian death and resurrection which is found in the songs of the musicians and echoed by the minor action of unseen worshippers in the streets, emphasises the relationship of Christ’ s resurrection to a cyclical view of history and human personality which is explicitly associated with a Heraclitian doctrine of flux.

Keywords

Clay Titan Assimilation Trench Triad 

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Copyright information

© Richard Taylor 1984

Authors and Affiliations

  • Richard Taylor

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