This essay is a comparison between Celtic myth and Korean myth with emphasis on hero Cuchulain and Jumong. Cuchulain is a Celtic Irish mythological hero who appears in the stories of the Ulster Cycle. In this study the main text of Cuchulain is Lady Gregory's Cuchulain of Muirthemne. Jumong, whose birth name was Dongmyeongseongwang(東明聖王), was the founding monarch of Goguryeo. The best known version of the founding myths of Goguryeo is the Dongmyeongwangpyeon of the Dongguk I Sanggukgip(Collected Works of Minister Yi of Korea) by Yi, Gyu Bo. According to Jeseph Campbell's idea of monomyth the standard path of the mythological adventure of the hero is a magnification of the formula represented in the rites of passage: separation−initiation−return. A hero ventures forth from the world of common day into a region of supernatural wonder, fabulous forces are there encountered and a decisive victory is won, and the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man. Cuchulain and Jumong's hero-journey show the nuclear unit of the monomyth. Their stories exhibit with extraordinary clarity all the essential elements of the classic accomplishment of the impossible task. Cuchulain is the son of the sun god Lugh and Deichtire(a daughter of Maga, the child of the love god of Angus). Jumong is the son of Hae Mosu(解慕漱: the son of heaven) and Yuhwa(柳花:daughter of the river god Habaek(河伯). Cuchulain and Jumong are the child divine yet born of human mather. They are sons of sun and abandoned by their divine father. The characteristic adventure of Cuchulain is winning of the bride, Emma. The adventure of Jumong is going to succeed to his father-the father is the invisible founder of Buyeo. Cuchulain's adventure had given him the capacity to annihilate all opposition. At the age of seventeen Cuchulain single-handedly defends Ulster from the army of Connacht in the Tain Bo Cuailnge. Jumong's adventure had given him the capacity to rule his subjects. At the age of twenty-two, in 37 BC, Jumong established Goguryeo, and became its first "Supreme King." Goguryeo considered itself a successor to Buyeo. Cuchulain, the Irish Achilles, is the symbol of all those who fought for independence of Ireland. Jumong, the korean Achilles, is the symbol of the pride of Korean. The aim of this essay is that my comparative analysis contribute to the sense of universal understanding of the human condition.

This paper is an attempt to practice Jungian ways into a great poem of Yeats’s, “Among School Children,” over which home and foreign academic societies concerned have been under much controversy till now. But it is very regrettable that I have no belief if the views issued from some noted scholars in the societies have been plausible or appropriate. In the sense, as suggested by the title, the encounter between Great psychologist C. G. Jung and Great poet W. B. Yeat is very significant in that they both had pursued the same ultimate subject as a supreme state of humanity respectively represented as archetype of ‘Self’ and ‘Unity of Being.’ For Jungian ways applied to the poem, first symbols, images and psychological situations lurking in it can be useful as the interpretative clues. These representations can function as faithful agents helping us to reach the gate of the poetic truth, urging us to mobilize Jungian esoteric terms corresponded to several kinds of psychological situations people must go through. ‘Great Mother,’ maternal archetype, who stands for earth and womb and takes two characteristics, construction and destruction, possessing opposite qualities of Witch Kali and Virgin Mary, exercises serious effect upon a male child as an earthly hero. Some ideal aim or mission that the hero strives to grasp is just equivalent to hurriedly return to the womb as his biological origin, namely secular realization of the principle of ‘entrophy’ meaning the second principle of thermodynamics; does mean the hero’s life whatever else? It can be associated with the biblical situation, Pieta, the holy picture describing Mary’s lamenting in bitter grief with embracing his dead son, Jesus Christ. In fact, the hero is determined to death resulting from energetic emission of burning libido, which can be embellished with either establishment of duty or sacrifice to community. Thus, ‘Great mother’ longing for the runaway baby from her womb, in turn, is expecting his death to suffice emptiness of womb and heal her chronic complex, hysteria. In conclusion, in the poem, we can find that the destiny that after “children” in the “school” go through a initial step of ‘individuation,’ the perfect state which further can be indivisible, they, absurd beings, are cast into the tough world with each secular mission is just to aid the scheme of ‘Great Mother.’ “school” is a temple teaching “dance” and “children” in it dancers learning “dance.” Accordingly, the enigmatic relation of “dancer” and “dance” in the eighth stanza would be unraveled: The former can come under an archetypal pattern and the latter can correspond to its practitioner. Thus, “dance,” playing a role of ‘complex’ as compelling force and driving us to imitate it, tires us, dancers, finally to death, as an erotic dancer Salome’s dance murdered a spiritual dancer John the Baptist. After all, we can never get to the core of “dance” only to hang around its brink, which Yeats should know. As usual, getting captivated by “dance,” we continually shout hoarse to others: Shall we dance?