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Yeats’s encounter with the Japanese Noh theatre led to the production of At the Hawk’s Well in 1916 in which he found solutions for the problems he struggled with in a poetic theatre and an ambivalent expression for his poetic nationalism. Instead of an authentic recreation of the Noh theatre, Yeats refashioned it conveying his own aesthetic and political visions opposing his early ideal of the People’s theatre. Artistically, Yeats “invented a form of drama” which not only implements his anti-theatrical and anti-realist discourse, but also produces an intimate theatre that refuses to accommodate a mob. Politically, Yeats’s poetic version of nationalism converged with his occultist philosophy which found expression in this Noh-inspired play. He held that a poetic theatre had to be a powerful ritual in which the concentration of images evokes a national consciousness. However, the hypnotized state evoked by this performance ritual entails negative aspects. In At the Hawk’s Well, Cuchulain’s final act of heroism is not out of his own choice, but the result of hypnotization. The play thus draws our attention to the continuity of Yeats’s representations of nationalism as poetics of cultural hypnosis from his early play Cathleen Ni Houlihan.
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