에드워드 사이드는 예이츠를 아일랜드에서의 제국적 지배의 몰락에 즈음하여 탈식민화의 작가로 보는데, 예이츠는 애국심과 민족주의로 아일랜드의 유산에 활력을 불어넣는다. 비슷한 탈식민적 접근을 하는 케냐의 작가 응과에와 도잉고는 식민이전의 현실에서 후기식민기에서 현대성으로의 전환에 대한 글을 쓰는 작가이다. 본 논문은 그들의 극작품화에 나타난 탈식민화 시학을 점검한다. 예이츠의 극『캐스린 니 홀리한』(1902년) 은 아일랜드 정신의 민족화와 탈식민화에 직접 반응하는 아일랜드의 농민의 억압된 상황을 묘사한다. 『정신의 탈식민화 하기』(1986년)와 다른 긱큐유언어로 된 극에서, 도잉고는 문화적 제국주의가 어떻게 아프리카와 범아프리카에서 심리적 정복의 일환으로서 식민주의를 활용하는 지 검토한다. 극을 저항의 장소로 개념화하여, 그는 식민이전의 케냐의 극의 근원과 토착적 빈 공간을 파괴하는 영국의 극적 제국을 대비한다. 두 작가는 정치를 극화하고 영제국주의에 대한 극을 정치화하여 자신들의 유산과 언어를 되살린다. 두 작사는 청중의 정신에게 귀한 유산을 강조하면서도 극공연에서 토착어를 조명하려 한다.

Yeats looked into the past and prophesied the future and dreamed a unified Irish society that could then resist English oppression. He adopted the language of the oppressor to manufacture or invent a cultural space, and used that cultural space to find a voice with which to critique the oppressive culture. He used his literary works, like "The Hawk," to set free his colonized homeland. Also new literary forms of expression came to be known as modernism in literature and included the expression of such feelings as discontinuity, ambiguity, and fragmentation. This was the world milieu in which Yeats wrote. And he saw how to use words as weapons turned against the colonizer and how to use words to discover Ireland. At the same time that he was implicated in Anglo-Irish colonialism, he also developed a system of symbols that he believed explained cycles of history and would transcend contemporary quarrels. Yeats also persistently used and interacted with Irish political and historical leaders. He names many of the political figures in much of his writing and uses historical events as subjects. Not only does his writing overtly interact with historical figures; in at least some of his poetry, Yeats makes subtle allusions to Irish leaders of the past. "The Hawk" may be a poem about a real individual, but one who is never named at all; this poem provides an example of art that, upon closer inspection, serves politics. The poem not only shows the political relationship between the Fenians and the English government, but it also introduces an element of the mystical; as Yeats uses the hawk as a symbol of the Fenian resistance in the poem to illuminate the political situation. He makes the Hawk of the Fenian movement into the hawk of the poem, he certainly presents the reader with a striking parallel; and he binds together history, politics, culture, spirituality, and poetry into the configuration of his famous interpenetrating gyres.