Irish literary and dramatic movement, in general belief, rose, late in the nineteenth century, in some vague manner from the temperament of the Irish people. As a matter of fact, Ireland in Yeats's young manhood was as ungrateful a soil for art as any that could be found, in a particularly materialistic time. The native Celtic genius that Arnold had felt to be so open to the influence of "natural magic" had been, for over a century, drawn off into politics. The Anglo-Irish tradition, having produced in the eighteenth century Swift, Congreve, Edgeworth, Goldsmith, Berkeley, and Burke, flowered no more.
The Land Agitation (the struggle of the peasantry against their landlords) and the Young Ireland and Fenian Movements (the struggle of the Irish people against English rule) from the '40s on had absorbed the energies and the eloquence of talented young Irishmen. Irish writers, as Stephen Gwynn has said, having been taught by Swift that written English could be used as a weapon against their oppressors, never forgot their lesson. The Catholic Emancipation Bill, by the efforts of Daniel O'Connell, was passed in 1829. In 1842 the Young Ireland Movement was given a newspaper by Thomas Davis: the Nation, whose motto was "to create and foster public opinion in Ireland and make it racy of the soil." The Nation fostered, as well, a school of Irish poets. Their audience was eager for stirring and heartening words; the verse which spoke to it most clearly was the rhetorical and sentimental ballad, celebrating the Irish race and inciting it to action and solidarity. This verse, when it was not written in the sentimental and insipid vein made famous by Tom Moore, was filled, as has been pointed out, with the hortatory gusto of Lord Macaulay. Versifiers used its forms with skill, and one or two—Clarence Mangan and Sir Samuel Ferguson—touched them with real color and depth of feeling. But there is no doubt that Irish literature, in the years between 1848 and 1891, had fallen upon barren times.
The year 1891 brought Parnell's death. The tragic end of a leader intensely hated and loved, and the loss of much political hope thereby, threw the national consciousness violently back on itself. Yeats has described the situation (he was twenty-six at the time). "Nationalist Ireland was torn with every kind of passion and prejudice, wanting so far as it wanted any literature at all, Nationalist propaganda disguised as literature. All the past had been turned into a melodrama with Ireland the blameless hero, and poet, novelist and historian had but one object, to hiss the villain, and only the minority doubted the greater the talent the greater the hiss. It was all the harder to substitute for that melodrama a nobler form of art, because there had been, however different in their form, villain and victim."
At the breakup of the Catholic State in the wars of the seventeenth century "Irish laws and customs, the whole framework of the Gaelic civilization, had been annihilated. Music, literature, and classical learning, loved by even the poorest of the Irish, had been driven into hiding, with only 'hedge-schoolmasters' and wandering bards to keep them from oblivion." During the years when the Nation was coming to be the literary force behind Irish Nationalism, traditional Gaelic survived in the minds of Gaelic-speaking peasants. Elsewhere it had disappeared, and from these minds and memories it was rapidly fading. After generations of poverty and oppression, the orally transmitted songs and histories had become fragmentary. Few educated Irishmen knew them, since no educated Irishman knew Gaelic. The Irish language was forbidden in the national schools, and the sons of Anglo-Irish landlords and rectors who passed through Trinity College in Dublin learned English culture and English literature. Standish James O'Grady had published his Bardic History in 1880, but, since O'Grady was a champion of the aristocracy, the book made little impression on the partisan-minded country as a whole. When, in 1894, an Irish landlord with literary ambitions, Edward Martyn, said to another of the same class, George Moore, "I wish I knew enough Irish to write my plays in Irish," Moore replied, "I thought nobody did anything in Irish but bring turf from the bog and say prayers." And Yeats has testified in an essay on the Irish Dramatic Movement: "When we began our work we tried to get a play in Gaelic. We could not even get a condensed version of the dialogue of Oisin and St. Patrick."