Natural Image in Yeats`s early poetry shows the relationship and tension between nature and consciousness. In Romantic poetry, natural image comes to be the most prominent dimension of the style. Natural image mediates between natural object and human consciousness and becomes an critical indicator of the problematic crisis related with the status of poetic language. Assuming the pantheistic nostalgia toward nature and the ontological primacy of the natural object, poetic consciousness compares poetic language to the natural object and desires to give poetic language the stability and substantiality of the natural object. However, poetic language which originates from nothingness differs from the natural object which is an epiphany, a natural emanation of a transcendental principle. Due to the ontological difference between them, poetic language fails to get the status of the natural object. The attempt to overcome the failure of the mimetic natural image leads to the self-conscious natural image. This conscious natural image belongs to the tradition of symbolism. Within the image nature and consciousness are mutually transformed and united. Now nature becomes the starting point and the mirror which reflects acts of consciousness. The self-reflective image is a reflection of consciousness which is reflected on the nature-as-mirror. It needs the natural object as its starting point and has no material substance; therefore, it fails to possess itself as its object and faces the narcissistic predicament in which consciousness is alienated from nature. Due to the intrinsic discrepancy of the natural image, the hope to unite nature and consciousness is frustrated. Consciousness still belongs to nature and poetic language becomes to face the crisis of sterility and extinction. This study considers the dialectic between nature and consciousness through the natural image of Yeats`s early poetry.

This study is on the characteristics of the food culture through the written folk poetries which were described vividly the life customs peculiar to the Nation and so much that were Korean National customs papers written by Chinese poetry - during the latter part of the Choson period. It is used the way which is studied by the literature after collection, analysis, synthesis the analyzed second material of the latter part of the Choson period's written folk poetries. It is summarized to below five contents of the characteristics of the food culture through the written folk poetries. The first is the various and abundant food culture. The second, that is the food culture of praying blessing and praying a fruitful. The people prayed to be a year of abundance of food stuff and train oneself and have medicine for their health, but there has been repeated seasonably an occult action for being blessing which had settled down to the beginning of the year's customs. The third, it is the food culture of share tender feeling with among the people. The fourth, it is the food culture of business and economy's growth image. The fifth, it is the food culture of an image of economic distress and the trouble between rich and poor.

이 논문은 유가의 입장에서 사상을 달리하는 불가의 스님을 대하는 양상이 어떠하였는지를 대표적으로 보여주는 두 작품을 서로 비교한 것이다.두 작품은 中唐의 문인인 韓愈의 ｢送浮屠文暢師序｣와 조선전기의 문인인 李陸의 ｢送日本僧聖津首座還國詩序｣다.700여 년이라는 시간적 거리에도 불구하고 유가로서 불가를 바라보는 시각을 공통적으로 취하고 있다는 점에서 흥미로웠다.우선 한유의 작품을 전범으로 설정하여 분석한 후,이륙이 그 전범을 모의하였는지의 여부를 작품의 내용을 대비하는 방법으로 밝히고자 하였다.분석한 결과,한유는 유가로서 불가를 대하는 데에 ‘이름이 유가면서 불가의 행동을 하는 자’와 ‘이름이 불가면서 유가의 행동을 하는 자’의 두 유형으로 나누고는 전자를 배격하고 후자를 승인하는 태도를 보였고,더 나아가 후자마저도 ‘이름이 유가면서 유가의 행동을 하는 자’가 되도록 요구하였다.그것은 불가를 부정할 뿐만 아니라 상대인 불가의 스님조차 인정하려 하지 않는 극단적인 입장이었다.이러한 한유의 견해는 유가의 도에 대한 자신의 논리를 전개한 ｢原道｣에 고스란히 반영되어 있다.한유는 聖人의 道에 대비되는 불가의 교리가 인간을 夷狄이나 禽獸로 만드는 야만적인 것이라고 여겼기에 비판한 것이다.이러한 한유의 불가에 대한 인식은 왜구의 노략질로 골치를 썩어온 조선전기의 문인인 이륙에게 공감을 불러 일으켰다.그 결과 이륙은 한유가 ｢送浮屠文暢師序｣에서 유가의 聖人之道를 언급할 때 사용한 주요 용어들을 ｢送日本僧聖津首座還國詩序｣에 그대로 차용하였고 왜구의 노략질이 남에게 기대어 살아가는 불가의 교리에 연원하고 있다는 것도 발견해 내었다.내용도 서로 닮아 있지만 몇 군데의 형식도 한유의 작품에서 익히 본 적이 있어 낯설지 않았다.이것을 통해 이륙의 ｢送日本僧聖津首座還國詩序｣가 한유의 ｢送浮屠文暢師序｣를 모의하였다고 확언할 수 있다.다만 글을 시작하거나 맺는 방식에 있어서는 한유가 논쟁적인 글쓰기를 한 데 비하여 이륙은 설명하고 진술하는 글쓰기를 하는 차이를 보였다.이것은 두 사람의 개성이나 문세의 상이함에서 말미암은 것으로 이해해야 할 것이다.이륙이 유가로서 불가의 스님을 응대하는 양상의 전범을,시공을 초월해 중당의 한유의 글에서 찾아내어 모의하였음을 확인하였다는 데에 본고의 가치가 있다고 하겠다.

It is noticeable that the critics of William Butler Yeats has recently tried to elucidate the poet's aristocratic disposition in relation with his political identity. Some critics have disparaged Yeats' works of art in the light of his seeming conservative political position as an advocate of aristocracy. Other critics who disagreed with this excessive blame have insisted that Yeats' aristocratic disposition only shows his self-deceptive idealism. As the poet's inclination toward aristocracy seems to suggest his conservatism or elitism, it has hindered the critics from understanding and appreciating his poetry wholeheartedly. In this paper I intend to examine the established points of the critics concerning Yeats' political identity and demonstrate that his inclination towards aristocracy could be understood as an attempt to cultivate united national identity among the Irish. Inflamed as the working condition of the artists in Dublin deteriorated and the social position of the Anglo-Irish Protestant fell in Irish society, the aristocratic disposition of Yeats ultimately contributed to contrive a poetic vision for national integration. From the point of time when Yeats decided to pursue his own poetic principle, "Unity of Being," his vision of aristocracy assumed the mental and moral characteristic and became an ideal plan for achieving cultural nationalism among the Irish. Yeats' vision of aristocracy includes the ceremony of tradition and spiritual attitudes such as magnanimity and liberty which can be cultivated in the aristocratic society. According to the poet's vision, the ideal society consists of three major groups: the aristocrats who would lead an affluent life and support the artists, the artists and scholars who would concentrate on creating great works, and the populace who would appreciate their arts without any prejudice. All member of these groups will form a horizontal solidarity based on shared culture, which will give each member of them joyful peace and affirmative ability to embrace life.

Yeats and Keats differently introduced their notions of time circulation and eternal life. One expressed limitations of human which could be overcome by art. And the other introduced time flowing in harmony and peace. And in one poem, we can see something lively such as young people, birds, trees, salmon-falls, and in the other poem we can find laziness and leisure. However, there is some similarity in that they introduce the subjects of circulation of life and eternal life. Yeats shows the passage of time by the Great Wheel or gyre which develops in the course of formation, fullness, decline. And Keats also presents the passage of time by using the phrases such as “swell the gourd,” “plum the hazel shell,” “warm day will never cease.” These symbolize swelling and continuance of time. So we can find the way how time is flowing in their poems. In Yeats's “Sailing to Byzantium,” time travels from a youth to an old age, and in “To Autumn,” time travels from summer to autumn. In this circulation Yeats's immortality can be reached by the media of art. And Keats gets it by the circulation of seasons. So one continues to voyage with eagerness for Byzantium in which he could find his everlasting life through the mosaic of 15th century, and the other comfortably waits for next seasons. Two poets respectively develop their poems in different ways, but they finally achieve the same subjects of ever-lasting life in the passage of time. In conclusion, Yeats pursued immortality by separating spirit from the body, because the flesh would be decayed. On the other hand, Keats thought that the immortality could be acquired by being one with time. Unlike Yeats's “Sailing to Byzantium”, Keats's “To Autumn” has a tendency to keep harmony and reconciliation, instead of confrontation. Therefore, autumn enjoys “sitting,” and “asleep” without haste.

Generally speaking, W. B. Yeats's early poetry has been thought as romantic and dreamy and criticized as a negative poetic example. But students would rather like to read these poems than his later philosophical poems. Maybe these early poems are more attractive to them because the dim yearning, homesickness and mysticism evoke their young emotion. But I think there is a more important element to attract reader's interest, that is the physical sense. The sense - sensory feeling gives a kind of elasticity of energy to Yeats's early poems. Without this sense, these poems would have degraded as those of dim exclamation about lost love or escape from the world. To study Yeats's sense we need to research some other poets who could affect young Yeats, and compare them: Keats and Hopkins. There are many good examples of sensory feeling in their poems. Thus I see a kind of affective relationship between them and realize this sensory feeling is a very important element of English poetry which we hardly find in Korean poems.

This study was conducted to explore the possibility and potential of developing a new EFL (English as a Foreign language) curriculum which aims to promote foreign language learning and enhance students’ understanding of the world. For this purpose, the study examined the integration of poetry and dialogue journal writing within an EFL curriculum. The Data collection consisted of a survey, interviews, samples of dialogue journal writing, a classroom video recording, the classroom teacher’s journal and the researcher’s field note and journal. Both quantitative and qualitative data were analyzed to address the research question: What happens when EFL students read poetry within a response-oriented framework? Data analysis revealed that: 1) The students showed positive attitudes and beliefs toward using poetry through response-based instruction, 2) Students perceived that poetry and dialogue journal writing were a good resource for promoting English language, and 3) Students extended their learning experiences through their transactional readings of poetry. The study suggests that poetry and dialogue journal writing hold the potential to develop EFL curricula.

Yeats uses aesthetic beauty as a way of presenting his major theme from “The Song of the Happy Shepherd” to “Under Ben Bulben.” However, he changes his point of views from 3rd person’s objective view to 1st person's subjective one to strengthen spiritual mystery of beautiful aestheticism. After all, poetic aestheticism is spiritual and personal beyond materialistic and superficial description. Although most his aesthetic vision comes from nature, nature is beyond human codes. Yeats’s “The Wild Swans at Coole” deals with his spiritual aestheticism through interaction of nature and human spirituality in that the poem integrates two opposing and antithetical elements into “mysterious, beautiful” being. Yeats’s spiritual aestheticism revitalizes the significance of his poetic vision which unites divinity and humanity through integration of human beauty and divine beauty in “Leda and the Swan.” Yeats also integrates history and vision together to recreate poetic aestheticism in that both serve to activate dynamic fusion through aesthetical interaction.In his early poems, Yeats utilizes unusual integration of nature and human life. Then, he moves into hierarchical antithesis of natural and spiritual beings. Sometimes, he uses reality and imagination to strengthen his spiritual aestheticism. Also, Yeats explores possibility of the fusion with aesthetic art and sensual life, humanity and divinity. Therefore, in his early poems Yeats frequently uses aesthetic description as a destination of human life by using definite nouns, but in his later poems he rather uses adjective more to strengthen human life as a process of journey. In conclusion, Yeats deliberately reinforces the significance of his spiritual aestheticism through dynamic and organic interaction of multidimensional views, nature, myths, faiths, and human codes.