This is an investigation of Yeats’s experiments with the media of language and dance in his plays. He was allied to other artists of the 1890s in his fascination with the biblical dancer Salome and in his preoccupation with things Japanese, particularly Noh theatre with its central dance. The impact of Diaghilev’s Ballets Russes also played its part in influencing Yeats’s drama and he took interest in the dance-as-meaning debate. The book contains new data on Yeats’s At the Hawk’s Well dancer, Ito and new information on his personal acquaintance with music-hall and Ballets Russes from yet unpublished letters.