The prevalence of the pastoral tradition in modern Irish poetry may be among the most enduring influences of the Irish Revival. W. B. Yeats, a spectre of influence as polarizing as he is inescapable, continuously championed the peasant and peasant life over the budding early twentieth century Irish petit bourgeoisie, asserting in a valedictory poem “The Municipal Gallery Revisited” that “John Synge, I and Augusta Gregory, thought/All that we did, all that we said and sang/Must come from the contact with the soil” (Yeats 321). Although revisionist in their approach to peasant life and culture, Lady Gregory and particularly J. M. Synge set their plays in the rural areas rather than the city. For Synge, “the natural world serves [...] as a site for reflection, a site of longing, and, in the case of his characters, of displacement” so that “nature and landscape [...] come to be much more complex in their signification, elements of an Irish past that contain both ideals and their opposites” (Frawley 103). On a general note, in her analysis of the use of the pastoral mode in Irish literature, Oona Frawley claims:

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莫里斯·里尔丹和塞安·吕萨格的诗歌语言和自然语言

田园诗在现代爱尔兰诗歌中的盛行可能是爱尔兰复兴最持久的影响之一。WB Yeats怀着无法避免的两极分化势力，在二十世纪初崭露头角的爱尔兰小资产阶级中不断捍卫农民和农民的生活，在一部题为“重新审视的市政画廊”的诗歌中断言“约翰·辛格，我和奥古斯塔”格雷戈里（Gregory），思想/我们所做的一切，我们所说的一切和唱歌/必须来自与土壤的接触”（第321位）。尽管格雷戈里夫人（Lady Gregory）尤其是JM Synge在对待农民生活和文化时采取修正主义的态度，但他们的选择却是在农村而不是城市。对于Synge来说，“自然界是反思的场所，渴望的场所，就其人物而言，daccess-ods.un.org daccess-ods.un.org因此，“自然和风景的含义变得更加复杂，爱尔兰过去的既包含理想又包含对立的元素”（Frawley 103）。总的来说，Oona Frawley在分析爱尔兰文学中的牧民模式时说：