International Yeats Studies Volume 4 Issue 1 Article 3 January 2020 Yeats's Queer Dramaturgies: Oscar Wilde, Narcissus, and Melancholy Masculinities in Calvary Zsuzsanna Balázs National University of Ireland, Galway Follow this and additional works at: https://tigerprints.clemson.edu/iys Recommended Citation Balázs, Zsuzsanna (2020) "Yeats's Queer Dramaturgies: Oscar Wilde, Narcissus, and Melancholy Masculinities in Calvary," International Yeats Studies: Vol. 4 : Iss. 1 , Article 3. DOI: https://doi.org/10.34068/IYS.04.01.02 Available at: https://tigerprints.clemson.edu/iys/vol4/iss1/3 This Article is brought to you for free and open access by TigerPrints. It has been accepted for inclusion in International Yeats Studies by an authorized editor of TigerPrints. For more information, please contact
[email protected]. Yeats’s Queer Dramaturgies: Oscar Wilde, Narcissus, And Melancholy Masculinities In Calvary Zsuzsanna Balázs “Have you noticed that the Greek androgynous statue is always the woman in man, never the man in woman? It was made for men who loved men first.” —W. B. Yeats (L 875) avid Cregan has called Frank McGuinness the first Irish playwright to apply a distinctively queer dramaturgical epistemology in his plays.1 Yet it is less often acknowledged that Yeats’s drama also took signifi- Dcant steps towards creating space for an anti-normative and anti-authoritarian queer dramaturgy, and thus intervened in normative constructs of sexuality and gender, indirectly joining the sexual liberation and women’s emancipation movements of his time. This was predominantly the result of his collaborations with and inspirations from transgressive artists such as Florence Farr, Michio Itō, Sarah Bernhardt, Vaslav Nijinsky, and Loïe Fuller, as well as his manifold transcultural inspirations which defied sexual polarization and hyper-mascu- linity in favor of more illicit forms of eros and a gender-bending body ideal.