As we have seen in the previous chapters, Yeats and Synge were instrumental in the development of an Irish modernist movement that sought to redefine the relationship between tradition and modernity. It is worth noting again Terry Eagleton's argument: “Modernism springs from the estranging impact of modernizing forces on a still deeply traditionalist order, in a politically unstable context which opens up social hope as well as spiritual anxiety. Traditional culture provides modernism with an adversary, but also lends it some of the terms in which to inflect itself.” One of the ways that traditional Irish culture lent itself to the modernism of the Celtic Revival was to provide Revivalists with the objects of a wide-ranging project of ethnographic redemption. Key elements of ethnographic practice – the reliance on a primitivist discourse, the predominance of fieldwork, and the objectivity of participant observation – emerge in the work of Revivalists like Yeats and Synge as hallmarks of an autoethnographic expressiveness capable of transforming these elements into a new mode of indigenous artistic production.