In his chapter, Gregory Castle explores the cultural need for heroism expressed by W. B. Yeats and Alice Milligan at a time (the first decade of the twentieth century) when hope for the future was an explicit component of revivalist discourse across the arts and the political spectrum. Yeats’s In the Seven Woods (1903) offers a vision of legendary and contemporary heroism in which love and desire are transformed in a process in which the experience of beauty and its loss, as well as the representation of this experience, become heroic endeavors. In Milligan’s Hero Lays (1908), heroism does not rely on a transposition of love into the context of heroism. Rather, her vision is informed by political activism; her poems mine the ancient legends for a model of heroic action that would be suitable for the nationalist cause of her own time. For both poets, the heroic ethos of the legendary past is sustained as part of the contemporary poet’s bardic responsibility.

In this chapter, Catherine Morris focuses on the Revival as part of a revolutionary era in Irish history, an era that saw the formation of national identity and national institutions. She shows how revival feminism links the freedom of Ireland to the freedom of women by focusing on the artistic work and social and political thought of neglected or under-studied feminists and activists such as Maud Gonne, Lady Augusta Gregory, Eva Gore-Booth, and Helena Molony. Prominent in this group of activist feminists was Alice Milligan. Milligan’s writings offer a rich context for grasping the idea that activist feminists shaped the Revival and provided an intersectional political space for women. She provides a way to reconsider the importance of the Irish Revival and to emphasize forgotten or neglected elements of it. Morris’s research on revival feminism, but especially her work on Milligan, becomes itself part of the revivalist continuum of political engagement.