This study researched the art-educational thoughts as a modern idea influenced with the social and philosophical transitions in the 19th century. Moreover, this study focused on Frank Lloyd Wright's educational thoughts, because those educational revolutions had appeared as one of the results that Western society's character was rapidly changed by those revolutions, so called, Industrial Revolution, American and French Revolution, and Cultural Revolution of Romanticism, from late 18th century, and eventually because that revolutionary educational ideas had closely and basically many relations with Wright's thought. As a result, even though Wright's education such an apprenticeship was a traditional shape, which was not the old-fashioned educational method discipling to the skillful man, but against the existing education through the self-learning from experiences in nature. That is similar to transcendentalists such as Emerson who searched for having an inspiration in Nature. Namely, Wright himself had struggled against the existing dualistic educational concepts through Wright's monistic thoughts on art-education including architecture based on not naturalism but the philosophy of nature by romantic idealistic philosophers such as Shelling, Fickle, Kant, Hegel including with his Master, Sullivan, and by revolutionary educators such as Freobel, Ruskin, Dewey, and above all by his Unitarian doctrine. However, Wright's thoughts was at that time so radical, and as Wright himself acknowledged that, 'because the philosophy back of it, of course, as you know, is midway I guess between East and West', such all philosophical objects to influence on Wright were so abstruse idea which is usually called 'Romantic' or 'Mystic' that is mingled with East's and West's essence. That is, because Wright himself catched that the theories and methods of the art-educational thoughts would not be easily perceived, and he judged that in a word as a character which could not be taught. After all, Wright's romantic progressivist art-educational thoughts have not been perceived, disseminated in general and widely.

This article depicts Schubert's attempts to find a musical parallel for poetic irony, especially in der Wanderer. Schubert presupposes that the text of the song can reflect in some way "an absollute synthesis of absolute antitheses". However, who can recognize that his depiction of text's irony is same as that envisioned by the poet? Thus, this deals with not only the definition of Romantic irony but also a cursory runthrough of Schubert's setting. As a result, we find that Schubert reflects poetic ideas in his song.

Yeats started his earlier poetic life, trying to express everything of his life in his poetry. Naturally, all the characteristic elements of Yeats’s poetry are closely related with his own life and experiences. And some of the autobiographical elements which characterized his life and poetry are: his innate introspective, romantic disposition and strong imagination; teachings of his father who advocated artistic solipsism; his deep affection for ancient Irish legends and myths; his strong belief in mysticism and magic; his intense ideological propensity; his readings in Blake and Shelley; his acquaintances with Pre-Raphaelites; his unrequited love for Maud Gonne. The dominant notes of Yeats’s early romantic poetry are tinged with deep sorrow or pathos for the changes of the human world, elapsing of time, ungraspable and fading love, growing old, and coming death. Romantic ideologist as he was, he would stay in the pure ideological dimension where all would vanish out of human grasp. His seeking for the supernatural mythic world without conflict reflected another aspect of his escapism which was to end in vain. As a matter of course, his early poetry is a record of spiritual growth of an agonizing romantic escapist. On the other hand, Yeats succeeded in generalizing or objectifying his lyrics by adopting various symbols from the ancient Irish myths and legends. Besides, his early poetry contains many symbols, images, themes, and rhythms from which those of his later seasoned poems were to develop.

1. Jo-Sik was a great Confucain scholar of the Lee Dynasty in 16th century. He didn't enter government service for all his life but devoted himself to his studies out of office. Although the king appointed him to provincial governor several times he refused to be an official. 2. He wrote about 200 poems. This paper aims to appreciate his poems as romanticism. He wrote poems in the base of a strong discontent with social phenomena of those days but he didn't describe the evil practices realistically. He only attempt to rise above the discontented reality. He was an idealist rather than a realist, which led him to write Romantic poems. 3. He loved the Mt. Jiri more than any other man. Mt. Jiri was described in his poems as a huge pillar supporting heaven. he had a desire to take after the Mt. Jiri. Mt. Jiri. was the objective correlative with his Romantic ideal.