In the introduction, I argue that Yeats’s revivalism, far from being prior to or separate from his modernism, is in fact a principal component of it. This claim is based on new research on revivalism as a movement and a way of thinking about Ireland, its past, and its future. My theoretical point of view is determined by three intertwined concepts: recognition, temporality, and the world of the work of art. The concepts of recognition and misrecognition, as I use them, derive from Hegel’s philosophy and are fundamental to his dialectical method. I explore at length Mikel Dufrenne’s phenomenological concept of worldmaking, according to which the aesthetic object consists of a represented and an expressed world. The dialectical relation of these two worlds in the work of art led to the creation of new time signatures, new ways of accounting for time beyond the limits of historical thinking. These innovations, which I argue are characteristic of Yeats’s revivalism and his modernism, sanction, through artistic means, the creation of new histories and stories for understanding Ireland’s past. They also sanction the creation of new worlds – possible and impossible – in art and other cultural forms. Yeats’s work, propelled by a lifelong commitment to revivalism, introduces into modernism a constellation of new worlds.