從十九世紀末到二十世紀初，此時期的愛爾蘭獨立運動逐漸蓬勃，藉由推廣愛爾蘭文學運動，喚起了愛爾蘭的民族意識與愛爾蘭民族的文化意識，愛爾蘭開始以獨立為目標邁進，終於在1922年，愛爾蘭獨立終於實現。這群作家矢志發掘愛爾蘭特有的文學．藝術，以愛爾蘭為創作據點，以愛爾蘭（Irish）為文學身分認同進行文學活動。其與殖民地的相關議題－民族主體性與身分認同的主題，自1920年代起便以日本為中心，向周邊地域擴散發酵。愛爾蘭文藝復興運動，於與愛爾蘭處於同樣處境的日本殖民地：台灣與朝鮮是極大的刺激與鼓舞。本文主要目的首先將以梁啟超以及林獻堂為中心，探究在「西來庵事件」之前，愛爾蘭經驗如何無獨有偶地對台灣以及梁啟超發生影響，以及愛爾蘭經驗如何激發當時的台灣人對民族運動路線的想像。第二，梁啟超如何藉由日本政治小說《佳人之奇遇》獲取愛爾蘭經驗，接受其民族運動路線的激發與想像的經過，也是本文欲解明的問題之一。第三，透過比較菊池寬的〈暴徒之子〉與格雷戈里夫人（Lady Gregory）的〈牢獄之門〉，試圖解明愛爾蘭文學的想像如何越境，而菊池寬如何借用愛爾蘭經驗來呈現「西來庵事件」。透過爬梳以上問題，本文主要探究蘊藏於愛爾蘭文學的想像，如何越境與福爾摩沙交會，將以「西來庵事件」為軸，觀察愛爾蘭經驗與台灣主體性二者之間的關聯。

From the late 19th century till the early 20^(th) century, Yeats, Synge, Lady Gregory and others drew on Irish folk tales and songs to add local color to their works. Though it was called the Gaelic Revival, the goal was to build Irish national consciousness. It worked. Ireland won independence from England in 1922. The success story of the Gaelic Revival in building a national identity of a colonized people through literary activities that culminated in political independence reached colonized lands in East Asia under Japanese rule, in particular Korea and Taiwan. The purpose of this paper is to shed light on how the Gaelic Revival helped build national consciousness in Taiwan. To this end, this study discusses two cases: First, Kikuchi Kan's adaptation of Lady Gregory's play to represent the Tapani Incident, which occurred in colonial Taiwan in 1915. Second, Liang Chi-chao's citation of the Irish experience to encourage Taiwanese people, such as the leader of Taiwan's ＂home rule＂ movement, Lin Hsien-tang, to create their own ＂Formosa experience＂ in print.