In the Introduction to Four Plays for Dancers Yeats wrote that:
The conception of the play is derived from the world-wide belief that the dead dream back, for a certain time, through the more personal thoughts and deeds of life. The wicked, according to Cornelius Agrippa, dream themselves to be consumed by flames and persecuted by demons; and there is precisely the same thought in a Japanese
... [Show full abstract] ‘Noh’ play, where a spirit, advised by a Buddhist priest she has met upon the road, seeks to escape from the flames by ceasing to believe in the dream. The lovers in my play have lost themselves in a different but still self-created winding of the labyrinth of conscience. The Judwalis [a fictitious Arab tribe invented by Yeats] distinguish between the Shade which dreams back through events in the order of their intensity, becoming happier as the more painful and, therefore, more intense wear themselves away, and the Spiritual Being, which lives back through events in the order of their occurrence, this living back being an exploration of their moral and intellectual origin.
All solar natures, to use the Arabian terms, during life move towards a more objective form of experience, the lunar towards a more subjective. After death a lunar man, reversing the intellectual order, grows always closer to objective experience, which in the spiritual world is wisdom, while a solar man mounts gradually towards the most extreme subjective experience possible to him. In the spiritual world subjectivity is innocence, and innocence, in life an accident of nature, is now the highest achievement of the intellect. I have already put the thought in verse.