I want in this article to examine the delicate relationship between art and politics in Irish Literary Revival period. Yeats and Joyce, at first glance, renounce in their different ways the clamorous political for the transcendence of art. But Joyce and Yeats for whom "politics is regarded as a threat to artistic integrity" are to reach back into the political even when they turn contemptuously from it. So, two writers` seemingly anti-political aesthetics could be a politics in itself in modernist sense, but their political edges, unlike most modernist gesture, are even sharper in a Catholic Ireland where the discourse of collective emancipation is usually above than that of individual liberty. Art and politics in this case may be closely related, but their true relation is also a troubling one. And the line between truth and edification is notably hard to draw. It is in this sense that Joyce and Yeats have troubling in representing their people, since they both are accused for having caricatured: Dublin`s life and Irish farmer`s life respectively. But the difference must not be unnoticed. Joyce indeed anticipate or possibly even courts such charges, while Yeats keenly aware of the irony that his and his fellow Synge`s idea of folk should have been interrupted by an unruly mob, and that his role as national poet is at stake. Anglo-Irish Revivalists resolve their dispossessed position in a vision of spiritual centurality, while Joyce uses the exile of Ireland and produce an art of global significance from Ireland`s very backwardness. But if the Revivalists` union of Celt and Gael was to a unstable one, soon to be overtaken by history, this is also one reason why diverse cultures rarely enter into reciprocal interaction in Joyce`s works, though contending cultures can converge there. This is, to be sure, that Ireland has been a difficult society to totalize. Irish artists, then, turn a fissured political history to their own advantages, and exploit the very absence of a stable system of representation for their own arts. It is the part of the political meaning of early-twentieth-century Irish works.