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.

• 이한묵(명지대) | Lee, Han-Mook