예이츠는, 엑프레시스(미술품을 묘사하는 시)를 사용하여, 20세기 가장 중요한 시 몇 편을 썼다. 가끔 미술관의 공간에 배경을 둔, 예이츠의 시는 존재감과 구체성, 미술 작품의 다양한 목소리에 대한 서정적 주관성, 다른 마음과 시대와 장소와의 직접적 참여, 종종 창의성 자체에 대한 대화의 촉진, 등을 자극한다. 엑프레시스는, 다른 20세기 시인들 뿐 아니라, 예이츠의 서정적 표현의 영역을 확장한다.
예이츠의 후기 작품은 비전에 제시된 가이어의 원리측면에서 볼 때 보다 더 정확하게 이해될 수 있다. 가이어는 4가지 능력들인 ‘의지’, ‘마스크’, ‘창조적 정신’, ‘운명체’로 구성되어 대립과 갈등을 일으키면서 1상에서부터 28상까지 순환을 한다. 이러한 순환에서 의식은 2번의 통합을 성취하는데, ‘대립적’ 상에서는 ‘존재의 통합’을, ‘기본적’상에서는 ‘신과의 통합’과 ‘자연과 통합’을 성취한다. 예이츠의 ‘존재의 통합’은 ‘대립적’ 상에서 비극적 삶을 있는 그대로 수용할 때에 비극적 환희에 도달하는 지혜를 얻어 그 결과로 성취된다.
예이츠는 신화를 상상과 현실을 이어주고 혼연일체가 되게 해주는 창조적인 매개체로 사용하였다. 그는 신화를 통해 예술과 인생, 자연과 초자연 등을 일체화 시켰다. 예이츠는 그의 시에서 아일랜드 토속 신화, 그리스 로마 신화, 성서 등을 사용하여 문학이 제공할 수 있는 상상력을 극대화하여 현실성을 부여하려 하였다.
예이츠는 자연시에서 현세를 벗어나 저편의 이상향을 그리는 낭만주의적인 성향을 보여준다고 여겨져 왔다. 하지만, 그의 전원풍의 시는 전통적인 이상향을 추구하면서도 현실에 대한 비극적인 인식과 도피를 추구하지 않는다는 점에서 전원시의 전통에서 벗어나 있다. 예이츠의 독특한 상상력은 오히려 동양적인 자연관을 연상시키며 현대의 생태적 인식에도 닿아있는 것으로 여겨진다. 이에, 논자는 예이츠의 자연시 몇 수를 조선시대의 강호가도와 비교하며 그의 자연시의 동양적, 생태적 풍미를 제고하고자 한다.
이 논문의 목적은 예이츠 시에 나타 난 니체의 영향을 확인하는 것이다. 예이츠 시에서 니체의 사고인 영웅, 전쟁, 갈등 찬미, 서구물질 문명 비판, 야수적이고 무서운 미 찬미, 기독교에 대한 거친 비판 및 귀족에 대한 자부심과 비극적 환희 찬미를 발견할 수 있었다. 나아가, 예이츠 시에서 순환적 역사관, 이성보다 열정을 우위에 두는 디오니소스적 삶에 대한 신념과 초인의 도래를 기다리는 니체의 사상역시 확인할 수 있었다.
The ‘debunking literature’ can contribute to improving the society by revealing the social maladies, lightening the truth and exposing the evil to the world, whose genuine power lies in digging the truth even often running the risk of death. This paper aims to confirm why the poems describing the on-going famines in North Korea and the past ones in Ireland belong to debunking literature and what power or effect they have or they are expected to have. For this, I established some hypothesis through my reading on famines and examined the effects Irish literature on the Irish Great Famine has brought to the development of the Irish Society in advance. And through my investigation, I could confirm that North Korea’s refugee poet, Mr. Jang Jin Sung exposed extreme poverty and misery by contrasting the dying and innocent people with the cruel despotic regime sometimes in a strongly direct way and that the Irish famine poems of Mangan, Yeats and Heaney focused on the Great Britain's hypocritical and indifferent colonial policy on the Irish starvation-stricken people in a roundabout way. Moreover, reading famine poems of the two nations led me to compare North Korea’s famine poems with those of Ireland: they look similar in the respect that they portray the miserable scenes surrounding a mass of population who died of famines and spotlight political neglect as the main reason, but look very much different in the respect that, in a sharp contrast with any of Irish poets, North Korea’s refugee poet, Mr Jang Jin Sung, ran the risk of even his death to expose the despot regime that slaughtered, and is still slaughtering, its own people that has no liberty to escape from the starvation. My last conclusion is that the courageous poet, Jang’s pains will lead to the betterment of North Korea’s human rights just as Irish famine poems have influenced the development of Irish politics, history and culture deeply.
Yeats wrote two poems on Byzantium: one is “Sailing to Byzantium” written in 1926 and the other is “Byzantium” written in 1930. The two poems are called the Byzantium Poems. In both poems, the reality and the ideal coexist, as Yeats himself said that “Each age unwinds the thread another age had wound, and it amuses one to remember that before Phidias, and his westward-moving art, Persia fell, and that when full moon came round again, amid eastward-moving thought, and brought Byzantine glory, Rome fell; and that at the outset of our westward-moving Renaissance Byzantium fell; all things dying each other’s life, living each other’s death.” What Yeats said about Byzantium as a symbolic city can be said about Ireland where the poet himself lived. That means he depicted the same world in dual perspectives. He said if he were to choose a city where he would live a month, he would pick up Byzantium a little before Justinian opened St. Sophia and closed the Academy of Plato. The reason is that religious, aesthetic and practical life were one in the town and at that time. We can say that what Yeats described in the Byzantium poems is the world where religious, aesthetic and practical life are one and the same.
As Maud Gonne had been regarded as one of the most important factors in Yeats’s life and literature, this study aims to analyze her images reflected in the poet’s poems which were published in 1910s and 1920s. Maud Gonne is presented as a political icon of that time in Ireland in Yeats’s poems. Unlike his early poems, where Maud Gonne is idealized as a goddess, a heroic figure of unbounded nobility and courage, Yeats presents her as a tragic warrior who devotes herself to political activities for violence and destruction in this period. At the same time, Yeats shows his holding back of approving Gonne’s political role of female warrior. The number of poems related to Maud Gonne also is decreased when Yeats realizes that Maud Gonne devoted herself too much on the political matters.
Colors in the poems are non-verbal communication. Colors in the poetry have symbolism and color meanings that go beyond ink. Therefore, the purpose of this paper is to investigate how Yeats chooses colors for his poems and how those colors are related to his poetic imagination. Yeats uses many colors in his poems in order to strengthen his poetic themes. The color that he uses quite frequently in The Collected Poems of W. B. Yeats is white. The color white is often related to the fairyland, his ideal land, or the beauty of woman in his several poems. In Yeats's poems, he also equates the love of country with the love of woman. He connects the physical world to the spiritual world by using the color white in his poems. For example, in "The White Birds" Yeats hopes to flee from the material world of sorrow with his beloved in the form of white birds. Yeats describes Maud Gonne's beauty as a white woman because she is the loveliest woman that he has ever met. In his Autobiographies, he says that her complexion was luminous like that of apple-blossom when he met her for the first time. The color of apple-blossom is white. The color white is used in many places in his poems to express the beauty of woman or the love of Ireland. In short, understanding the meaning of white used in his poetry will help us grasp his poems properly.
The order of poems plays a very important role in Yeats's book of poems without understanding which his poetry cannot be fully appreciated. Hence, understanding Yeats's poems requires looking into not only a relationship between the poems placed side by side in his Book of poems but also the principle of arranging the entire poems. The purpose of this paper is to find out a principle with which Yeats placed his 37 poems for The Wind Among the Reeds. The principle, if there is any, brings us closer to why Yeats moved "The Fiddler of Dooney" from the 11th place in the 1899 edition to the 37th in the 1909 edition. My argument is that Yeats's arrangement of poems selected in The Wind Among the Reeds reflects his poetics which he formed in between 1890's and 1910's. Reading Yeats's essays, “Nationality and Literature" (1893), “The Theater" (1899), "The Symbolism of Poetry" (1900), and “What is Popular Poetry?” (1901), we see that the poet talks about different subjects matters but reveals his idea of how the literature develops. Yeats believes that literature goes through three developmental stages: the epic period; dramatic period and the period of lyric poetry. The epic phase is marked by great racial or national movements and events; the dramatic phase mainly deals with characters who lived in them; and the lyric phase focuses on pure emotion or mood, the seed of which again grows into a tree of epic literature by stimulating human sensibilities. This cyclical pattern of literature, which Yeats compares with the growth of a tree, is a model after which the poems of The Wind Among the Reeds are arranged. That is, the opening poem, "The Hosting of the Sidhe" reflects the epic concern by dealing with great Irish people and soil; the second poem, “The Everlasting Voices," in which great racial or national movements disappear, talks about old human hearts; and the third poem, “The Moods,” shows the lyric phase concentrating on the birth of mood and its immortality. The following 34 poems are arranged in such a way as to mirror the epic-dramatic-lyric pattern; dramatic poems outnumber the epic and lyric poems. This pattern shows Yeats's message: literature goes through this three developmental stage and the parts do not exist in isolation from the whole. Yeats also announces that he is the poet of Irish people, drama, and lyrics.
Blake, Yeats, and Bishop wrote poetry about children from a child’s perspective, to make us take a closer look at our behaviors, thoughts, and society. Both Yeats’s “The Stolen Child” and Blake’s “The Chimney Sweeper” in Songs of Innocence juxtapose two different worlds, and the child in each poem is associated with the ideal world of our dream. For Blake, the other world as opposed to this world is characterized by perfection filled with love and compassion, which only God can create. Yeats’s “The Stolen Child,” on the other hand, is not characterized by good versus evil; the world we inhabit, though full of sufferings, has traces of beauty that God has given to humanity. Yeats makes us reminisce about our childhood when we were innocent, suggesting that the key to happiness in our daily lives can be found there. Bishop furthers the device of childhood reminiscence with an emphasis on human perceptions, making a psychological approach to her poems, “The First Death in Nova Scotia,” “Sestina,” and “Manners”; hence, the perspective of her child speaker is much more complicated so as to reveal human conditions. We have to find out what the actual world looks like in the poem by inferring what the child gives. Because the psychology of the child is not explained by anyone else in the poem, we place ourselves in child’s perspective and compare the experiences from an adult’s point of view. All the poems about children discussed in this paper are really about adults.
Colors in the poems are non-verbal communication. Colors in the poetry have symbolism and color meanings that go beyond ink. The purpose of this paper, therefore, is to investigate how Yeats chooses colors for his poems and how those colors are related to his poetic imagination. Yeats uses many colors in his poems in order to strengthen his poetic themes.
The color that he uses frequently in The Collected Poems of W. B. Yeats is red. The color red is often related to the word blood in several of his poems. In Yeats’s poems, the color red and blood are connected to Ireland and the Irish people’s devotion to their country. In his poems Yeats tries to praise the beauty of Ireland and those people who dedicated their lives to Ireland. For example, in “To the Rose upon the Rood of Time,” “The Rose Tree,” “To Ireland in the Coming Times” and so on, Yeats uses the red and blood imagery associated with Ireland in order to exalt his own country and his own people just as Christians praise the red blood of Jesus Christ shed on the cross for their salvation.
Finally, grasping the meaning of various colors used in his poetry will help us understand his poems more broadly.
The purpose of this paper is to assess the current state of W. B. Yeats’s poems in Korean translation. My examination includes nearly all of the Korean translations of the quoted verse lines of Yeats’s poems appearing in The Yeats Journal of Korea between 2006 and 2008, and parts of translations of Yeats’s works published as separate volumes by the Yeats Society of Korea since 2003. Although so far three generations of scholars have actively engaged in Yeats studies and translation of his works since 1945 when academic research on the poet began in Korea, the translation endeavours by the second and third generation scholars have not yielded satisfactory results and that the senior group of scholars cannot shirk its responsibility.The problem areas in the translations include choice of words and phrases, tense adjustment, versification and punctuation as well as scene description and poetic imagining. Following a detailed discussion of inappropriate and awkward translations, I offer my own translation for comparison if need be.