叶芝的早期剧作《胡里汉之女凯瑟琳》用本土化的女性人物形象喻指爱尔兰。这一政治隐喻手法具有深厚的爱尔兰文学渊源,可以追溯到“阿希林”诗歌传统和“主权女神”神话传说。尽管该剧颇具民族主义色彩,但凯瑟琳的合法配偶身份存在互文性的留白,从中我们可以隐约看出叶芝作为英-爱知识分子的文化异质性和少数派文化诉求。站在21世纪回顾,该剧对女性化政治隐喻的重新挖掘并没能有效解构英国殖民话语对爱尔兰性的建构。对该剧的现代批评接受反映了20世纪末期以来爱尔兰文化界对多样化、异质化的民族身份认同的追求。 Yeats’s early play “Catherine of Juliet woman” refers to Ireland as a localized female figure. This political metaphorical approach has deep Irish literary origins dating back to the myths and legends of Ashin’s poetry tradition and the Sovereign Goddess. Although the play is rather nationalistic, Catherine’s illegitimate spouse identity exists intertemporal blanket, from which we can vaguely see Yeats as the cultural heterogeneity and minority cultural appeal of the British-Ai intellectuals. Standing in the 21st century, the drama of the feminization of the political metaphor re-excavation did not effectively deconstruct the British colonial discourse on the construction of Irish sex. The modern critique of the play embraces the Irish culture’s quest for a diverse and heterogeneous ethnic identity since the late 20th century.