The relationship between Yeats and Gonne seems to show an example of the traditional courtly love. Courtly love was a medieval Europe conception of nobly and chivalrously expressing love and admiration. Under this relationship, although a male expresses the devotional love to a female, a woman shows no love and pity for a man and a woman is an object who uplifts a man's spirit. This relationship may be said to show the man's fear of castration. The relationship between Yeats and Gonne starts by his admiration for her beauty and sternness as a nationalist for the Irish Independence. Also, he glorifies her as a secret being. Moreover, Yeats's love for her shows the doubleness: erotic and spiritual, humane and transcendental, and humiliating and proud. However, Gonne's coldness leads Yeats to desperation. And the last step shows Yeats's fear of castration for the politically-minded Maud Gonne. In Rose, there is Yeats's admiration for the secret woman, Maud Gonne. Yeats's unrequited love leads finally to desperation and sorrow for love, facing Gonne‘s unwavering coldness as a nationalist, which leads Yeats to give her up, showing a kind of fear of castration.

This paper aims at exploring the postcolonial aspects of William Butler Yeats’s poetry, especially the ‘Crazy Jane Poems’ written approximately from 1929 to 193l. The term ‘postcolonial’ means ‘anti-colonial.’ In Ireland, during the colonial state and the partially postcolonial state, Yeats’s involvement with Irish politics had never been static, straightforward, or comfortable. Whereas most critics see these poems from the feminist perspective, I regard them as the attempts to decolonialize Ireland from the British colonialists as well as the bitter critical insight on the rigid ethics of Irish Catholicism. 'Crazy Jane' resembles the Cailleach Bhearra, the goddess who serves not only as historian of the land and teacher of the farmers but also as bearer of sovereignty. Therefore her challenge to the colonial legacy is identified with the newly formed Irish state. What are the most abject of British stereotypes of Ireland － recklessness, vagrancy, violence and so on - ironically transform themselves through 'Crazy Jane' into the antithetical values of passion, earthiness, and exuberance. Overthrowing the preconditions of British and Church authorities, she criticizes both the Irish Catholic Church and the British authority which has appropriated Ireland. In addition, by using the ballad form, Yeats consolidates the nationalist intent of these poems. Therefore, 'Crazy Jane' may be identified with Yeats' alter ego, the personality that represents Yeats' various ideological positions. Subverting the British colonialists on the same stereotypes that British colonialists used to exploit the Irish people, she denounces both the stiff ethics of Irish Catholicism and the prevailing Irish patriarchy. Therefore, we can conclude that 'Crazy Jane' resembles a cubist icon that superimposes the double aspects of the Irish postcolonial state.

Faced with an unknown and uncertain reality in the early 20th century, W. B. Yeats is poignantly aware of the impossibility of objective truth as well as of ineffectiveness of all traditional modes of acquiring knowledge. He well recognizes that there is no center or a focal point of reference in a reality, which is sought over and over again. “The Second Coming” well expresses the absence of a fixed center or origin of experience in Yeats’s historical system. It shows that there is a non-locus at the center of all history, of all thinking, speech, writing, and action. “The Three Beggars” also gives a vivid illustration of how empty meaning swirls around a missing center and the lack of foundation, which is well represented by the three beggars’ collapse. Another poem “Among School Children” suggests that despite one’s efforts, one cannot arrive at “Presences,” which, like the answers to Yeats’s final rhetorical questions, are endlessly deferred. Despite such the limits and deferral of meaning, Yeats never gives up to assign meaning to the fragmentary reality by declaring and creating a symbol. In “A Dialogue of Self and Soul” the Self asserts the emblematic status of Sato’s sword and its covering. In “Blood and the Moon” Yeats again assigns meaning overtly by declaring the tower his symbol, though the poet in its last stanza, recognizing that ultimate wisdom is deferred beyond life, self-reflexively uses a metaphor of the blood stain to encode the limits of human understanding. In “1916 Easter” Yeats demonstrates what he can do as his part of a poet with the fragmentary reality. He calls each victim of the Easter Rebellion by name and writes it in verse, which denotes a bricolargic strategy of using the only language at hand to impose meaning on the painfully unresolved ambiguities of the Rebellion, even if he not only well recognizes that he can attribute no ‘truth-value’ to this transmutation, but also no longer expects to arrive at the final meaning of the political event in his poem.

Yeats has expended so much energy on theatre for the simple reason that his imagination was essentially dramatic. Just as in his lyrical poetry he was to find a way of embodying his conviction that conflict is at the root of life, so in his drama he was to develop techniques that enabled him to shape his vision into actable form. Despite great differences in subject matter and technique, Yeats's plays consistently dramatize the conflict between the opposing values: passion, intuition, heroism and self-assertion, on the one hand, reason, prudence, convention, community and self-submission, on the other hand. This paper studies the conflicts in Yeats's three early plays: the conflict between the poet Aleel's world of dreams and beauty and Cathleen's decision to sacrifice herself for the community in The Countess Cathleen, the conflict between the life-denying forces of moral orthodoxy and social conformism and gaiety and aesthetic vitality in The Land of Heart's Desire, and the conflict between the poet Forgael's transcendental journey and his companions' absorption in wine, women, and loot in The Shadowy Waters. Thus, conflict is a powerful instrument to dramatize Yeats's dramatic vision and these early plays, in spite of many failings, show the embryo of the recurrent theme of conflict in his more successful later plays.

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.

This paper is an attempt to discuss Yeats's Four Faculties and symbolic approach in A Vision. He tried to search for how to make many symbols and images drawn in his poetry into one principle and theory and put it together in A Vision. He used Four Principles to explain the cycle of reincarnation while he made use of Four Faculties to show the stream of consciousness. He insists that we have many spiritual conflicts and pains. However we can solve this conflict and confrontation through the course of Four Faculties. He elaborately explains that this kind of stream of consciousness divides in Four Faculties and this travels on the phases of the moon in A Vision. These Four Faculties are Will, Mask, Creative Mind, and Body of Fate. Will is understood that what's the feeling has not become desire because there is no object to desire. Mask is understood the image of what we wish to become. Creative Mind meant intellect. And Body of fate is understood the physical and mental environment, the changing human body, and the stream of phenomena as this affects a particular individual, all that is forced upon us from without. Four Faculties movement means that the change of relative force in each pair of psychical function unites with the principle symbol of the 28 phases of moon. In a sense though this symbol is actually his own volition, this also has a beauty and mighty force. Transformation of the 28 phases of moon relates to cross over from the Primary to the Antithetical. Phase 15 and phase 1 emblematized the unity of Will and Creative Mind not moving and fixing. In phase 15, the feeling of introversion easily changes into the thought of introversion through material that is subjective image, or archetypical image. However in phase 1, the intuition of extroversion changes into the sensation of extroversion through the focus from without. These two phases make reconciliation rather than conflict. In conclusion, through the unity of subjective image, Unity with God, Unity with Nature, we experience the moment of tranquility in which reincarnation presents itself outside of cycle of phases. The synthesis from without opposed to the unity of image in the center of the Antithetical. Therefore Yeats shows the method of Unity with Nature, Unity with God, and Unity of Being in A Vision. However he insists the ideas of Unity of Being in his poems.

Yeats and Stein are both modernists. The one lived in Dublin; the other lived in Paris. Both revolutionized poetry and novel in their own way. Yeats’s poetry displays the highest degree of form that gives sense of time and space; he relies on tradition to achieve it, whereas Stein invents a totally new way of writing in order to make new sense in prose. This paper attempts to show how to read Yeats’s Meditations in Time of Civil War and Stein’s Tender Buttons. We see Yeats’s poems in it as well woven embroidery in spatial and temporal terms. The more you pay attention to form in his poetry, the more marvelous, sensuous feel of the poems’ texture you have. In the meantime, in different ways than Yeats, Stein’s prose flows like time smoothly, perfectly, like music; if you take time to think, the making of sense is broken; if you just let yourself feel the sensation that the flowing of words and sentences guide you, sense makes sense makes sense, in Stein’s idiom.

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.

Building on the readings of Yeats’s esoteric poems and A Vision, I pose to rethink the dimensions of his occultism, more specifically his reflection on an encounter with the supernatural beings. The need for rearticulation of the role of relation to the other gains urgency because the supernatural beings are by nature obscure, indistinct, and indefinite. They resist too much clarification and determination that may reduce their complicated and irreducible beings to distinct concepts. The difficulty, therefore, lies in the question of how Yeats could present the beings in a manner as precise, proper, and rigorous as possible and at the same time he could respect and honor the mode in which the beings conceals themselves in the mystery, by letting them be the mystery that they are. Applying the concept of “ecstasy” and “epiphany” to Yeats’s three poems, my paper investigates how each poem reflects and illustrates the nature and the structuality of “ecstasy” and “epiphany.” In “The Double Vision of Michael Robartes” the girl dancing between a Sphinx and a Buddha in the fifteenth night is the anti-self of Yeats. In a moment the girl, the Sphinx, the Buddha and the poet himself had overthrown time in contemplation. They remain motionless in the contemplation of their real nature. when Robartes meets the girl, he can be a totally subjective mind, overcome the illusion of duality, and find a “revelation of realty.” They finally all integrated into one and accomplish the ultimate reality as a phaseless sphere. This poem Robartes shows how ecstasy or epiphany in an encounter with the supernatural being not only arises from the contemplation of things vaster than the individual and imperfectly seen but also escapes from the barrenness and shallowness of a too conscious arrangement. In the second section of “Vacillation,” Yeats presents a ritual ceremony in which “Attis’ image” is hung between the two parts, uniting death with eternal life, assuring immortality. He who performs this rite “May know not what he knows but knows not grief.” Yeats in his poetry consistently and repeatedly alludes to an ancient sacrificial ritual and the imitations of ritual techniques through words and rhythms. For him, the ritual enacts an inner vision of permanent beauty and harmony and enables us to participate in the transcendental experience of a rite. Yeats often clearly sees and evokes the effects of sacrifice to ensure symbolize the transcendental vision of whole beyond ordinary experience or expression. Yeats showed Unity of Being in “Byzantium.” He attains the Ultimate Reality completely, in which subject and object are unified in the space without the time. He achieves the ultimate reality as an eternal instant. This ultimate reality is Yeats’s Unity of Being.

Despite the controversy over Yeat’s political position, it is manifest that he was a nationalist who passionately loved his homeland, Ireland. But the nationalism he has pursued was different from those of other nationalists of his time. This thesis explores Yeats’ special nature of nationalism of that is reflected in his various works. Yeats’ nationalist philosophy is formed on the basis of his view of cyclic history which is well embodied in A Vision. Unlike the historical view of the Western world, as a whole Yeats does not presuppose any specific teleological beginning or end. For Yeats, death and revival are always repeated anew in regular spans of time: the universe repeats genesis and extinction and every life repeats metempsychosis. He attacks the project of modernity as a teleological fiction, : that is, as a myth occupying the spirit of the time, and as a mere “gigantic story.” There is no possibility for a tradition to definitely overcome another waning it completely, and thus history is far from being teleological. Yeats has tried to serve his homeland through poetry and drama, making use of their popularity for heightening people’s perception of the reality of the time and his artistic achievement. But the upcoming middle class, arising as a new political power in Ireland, couldn't understand his intention. But, having witnessed in the Easter Rising in 1916 that the spirit of the nation still survives, he came to conceive a new hope for his homeland. About the heroic deeds done by the patriots killed in that event, he regretted for the bloody violences happened there and enthrallment for their deeds of “terrible beauty” at the same time. Yeats sees that Ireland needs to find its own characteristic culture and identity in order to achieve independence from the hands of England. Guarding against pursuing exclusively what is Irish, he also wants to acknowledge the diversity of culture lying inside the boundaries of Ireland. Stressing that various different cultures are conflicting with one another outwardly, are reciprocal rather than exclusive actually, he seeks the way of hybrid nationalism.

This paper discusses Yeats’s ideas on the transmigration of Souls in A Vision and his poems. Yeats creates the six levels of a human's reincarnation. He insists that Consciousness corresponds with one another in this life and the afterlife in A Vision. He thinks that Consciousness moves toward Will and goes in cycle in Faculties at the moment. However, Consciousness submerges Spirit in Principles and after Spirit unifies Celestial Body it becomes extinct. When Principles dominate the system in the afterlife, Spirit circulates in the system. Faculties have an effect on from birth to death in human, but although submerging in Faculties at the period, Principles have a tremendous impact on getting a new physical body in the afterlife. If a human passes away his body, Consciousness transfers from Faculties to Principles, also from Will to Spirit. And then it arrives at The Vision of Blood Kindred and Meditation. The Vision of Blood Kindred is the illusions of every past experience in Husk and Fascinate Body, resulted in final body. And Meditation is to disappear Husk and Fascinate Body and to appear Spirit and Celestial Body. After that, the stream of soul continuously changes into Return, Dreaming Back, Phantasmagoria, Shiftings, Beatitude, Purification, Foreknowledge step by step. Yeats described them as a cyclical course of afterlife in “Byzantium” and “The Man and the Echo.” In conclusion, a human is reborn in the afterlife through transferring from Principles to Faculties, also from Spirit to Will. The practical transition from Principles Gyre to Faculties Gyre takes place when Consciousness travels from Spirit to a new Husk. So a human passes away from this world and through the six courses of reincarnation in the afterlife. He is reborn in another world.

I look at the images of Maud Gonne in Yeats's "Bronze Head." The bronze head is a sculpture made by Lawrence Campbell, which is in the Municipal Gallery of Modern Art, Dublin. When Yeats saw it, he must be shocked; she is old, and yet she looks "magnificent." In the bronze work, Yeats sees Maud Gonne as "human, superhuman," and "supernatural," as well. He puts down all that occurs to him, from the very first encounter, when "she walks like a goddess," not without wildness, though, to the image of Cathleen-like soul, to the image of her being supernatural with a sterner eye. All this enriching vision is made possible in this last poem of his; it is a conclusion to his poetry that is a history of a great heart craving for life for anther great heart; it is the best paean dedicated to a Goddess in his heart.

In this paper, I argue that W. B. Yeats’s pursuit of universalism was rekindled by his rediscovery of the East through Tagore. Yeats’s political experiences during the 1910s also influenced his fascination with universalism. I will first discuss the significance of Yeats’s fascination with Tagore in relation to his rediscovery of the importance of East, particularly India, not only for spiritual reasons, but also for political reasons. That is, Tagore ultimately gave Yeats an opportunity to see India as a place to reconcile his split allegiance to both Romanticism and nationalism, and to art and politics. The East, for Yeats, is the place to swerve from his Romantic predecessors for political reasons. At this time, a return to East was especially important to him because it also offered a psychological vindication for his political setback—being attacked for his anti-nationalism—during the Playboy riots. That is, the pursuit of Eastern values, particularly Indian values, became his way of fighting colonialism, as well as for finding spiritual wholeness. By the time Yeats returned to the East, Yeats also began to witness the most turbulent and dramatic political events of his life such as the 1916 Easter Rising, the Irish and English War, and the Irish Civil War, which Yeats viewed as the culmination of the hatred between political groups and parties. His rediscovery of Eastern values through Tagore and his political experiences at that time slowly led Yeats to develop a concept of universalism: the unity of East and West. In other words, Yeats’s continuous movement towards universalism during this period was the necessary and inevitable course to deal with his political experiences: his psychological need to purify the bitterness and hatred Irish politics breeds into his mind, and his need to offer a more inclusive political vision to the Irish politicians who fight out of hatred of opposing parties. What Yeats basically wants to do by pursuing universalism is to create a citizen of the universe whose consciousness transcends the distinction between one and many, present and past, and East and West. Poems such as “The Double Vision of Michael Robartes,” “Sailing to Byzantium,” “Among School Children,” and “Byzantium,” written after 1919 express Yeats’s universalist idea of reconciling East and West employing a meditative scheme. It is unmistakable that all three poems encapsulate Yeats’s universal consciousness, but we also see that they are also tinged by Yeats’s skepticism about the transcendental state, as well as about universalism, in one way or another. Yeats’s doubt about universalism betrays his conflicting political agenda: his belief in the Anglo-Irish aristocratic government. Looking at other poems (“The Wild Swans at Cool,” “In Memory of Major Robert Gregory,” “An Irish Airman foresees his Death,” “A Prayer for my Daughter”) published in the same period reveal his covert allegiance to the Anglo-Irish aristocratic tradition.

I have made an attempt to read the tower imagery in some of Yeats’s middle and last poems. The tower is a key symbol in his poetry. He purchased a Norman tower in 1917 and moved into it to live in summers from 1919. Since then, it had become an emblem of his profound philosophy in his philosophical poetry. I read both the tower poems and their social and historical backgrounds to understand his works more deeply. I also study the way his tower poems reflect Neoplatonic symbolism and intellectual symbolism. The tower symbolizes the poet's spiritual and historical changes in his life; at one time, the tower was a romantic and stable place for the newlywed Yeatses; at others, it served as a retreat at his critical moments and as a place for philosophical contemplation on life and death; eventually it became the poet himself and the eternal symbol of his art as well.

In A Vision Yeats combines Christianity with elements as disparate as theosophy, astrology, neoPlatonism, spiritualism, the magic and Cabbalistic traditions, the work of writers such as Swedenborg, Boehme and Blake. The end result, such as “Ego Dominus Tuus” and “The Second Coming”, is a unitary system in which Yeats defines his ideas on history, religion and art. “The Second Coming” depicts an apocalyptic scene, and the advent of a “rough beast” oxymoronically slouching towards Bethlehem “to be born.” In accordance with Yeats’s view on cosmic and historical cycles, which will be touched upon in this essay, it is generally regarded as prophesizing the end of the “twenty centuries” of the Christian Era. It embodies or foreshadows the revelation of the character of the age to come, completely antithetical to that of the Christian Era, which, in Yeats’s mind, was nearing its conclusion. The poem’s title, its biblically allusive infrastructure, and its Latin evocation of a “Spiritus mundi” (namely, “soul of the world”) disclose its intention to cast an appeal on the “collective unconscious” of the entire Christian world Such a coexistence of opposite forces would also conform perfectly with Yeats’s view of Unity of Being, which entails a detached and simultaneous outlook on both Good and Evil. Yeats seems to have accessed this “antithetical” state of consciousness in “The Second Coming”, where the triumphal Christian connotations evoked by the title are offset by the terrifying scenario in the poem, which describes what is in fact a reverse apocalypse and the coming of the Antichrist. On its most evident plane, Yeats’s “The Second Coming” is, obviously, the description of an apocalyptic (or anti-apocalyptic) scene.

In A Vision, Yeats provides multiple trans-temporal (crossing different periods in history) and trans-national(crossing different nations) collage of “the glance characteristic of a civilization in its final phase,” and provides different images of eyes for each period. Each of these images is related to a certain point between concernful dealing with the world and the vision of the infinite world. Each image of the gaze characteristic of sculpture represents a civilization, and constitutes a “discontinuous image” which connotes “the symbolic message.” In fact, Yeats reveals each image of the eye as a fragment or stasis of a moment of the spiritual eye, and at the same time as the representation of Yeats's intention to quest for the Unity of Culture, the “vast design” of his transnational poetics. The objective of this paper is to trace the trajectory of Yeats's poetics and rhetoric. My contention is that Yeats reveals his major shift from the poetics to the rhetoric in the midst of the multi-level “twists and turns” which mark an important manifestation of the process of transmigration toward the Unity of Culture, and I argue that Yeats’s quest for the Unity of Culture manifest a transnational poetics. Yeats’s poetic development manifests the on-going process of contestation and fragmentation on the bridge between the poetics and the rhetoric. The bridge is a site of turbulent aporia site in which duplication of contestation creates a simultaneous centripetal and centrifugal movement, comingled with multiplication of fragmentation. Between “Magic” essay and A Vision, there is a missing link to establish the so-called “linguistic turn” in the career of Yeats the transnational poet/theorist. Yeats in his Per Amica Silentia Lunae already conceived the doubling intertext of intentionality as an anchoring center of the breakthrough out of the dilemma of the theory of magic. In fact, what Yeats has done in Per Amica Silentia is to create conflict, tension, and equilibrium between the theory of magic and the theory of the linguistic turn, thereby rupturing the inauthentic theory of correspondence and establishing the foreground of the authentic concept of correspondence in terms of Othering. The Only Jealousy of Emer is the dramatic manifestion of Yeats’s linguistic turn in the speech of the characters in relation to the desire of the Other. My focus here in this play is rather the role of the multiple masks which represent the nature of the Other as well as the process of Othering. The Other has been represented by the multiple characters’ masks such as those of Bricriu (The Figure of Cuchulain), Fand (Woman of the Sidhe), The Ghost of Cuchulain, Emer, Eithne Inguba. As a unified vision of Yeats’s own diachronic and synchronic transnational poetics, A Vision can be seen in terms of Deleuze and Guattari’s “desiring- production.” Opposed to the (negative) Lacanian dialectic of lack and desire, Deleuze and Guattari propose a theory of “desiring-production,” which they define as a “pure multiplicity, that is to say, an affirmation that is irreducible to any sort of unity.” If we re-consider A Vision as a desiring-machine that is connected to other desiring-machines, we deterritorialize the perspective which constructs lack as the centre of subjectivity, thereby reterritorializing subjectivity as a network of multiplicities. The gaze of the writing subjects in A Vision become autonomous, creating automatic writing and automatic speech. Then, A Vision which is given for the metaphors for poetry and poetry achieves its being in language. In short, Yeats has established a transnational poetics which traces its poetics of the Other and Othering back to the poetics and the rhetoric of the linguistic turn, a turn in which poetry exists in language and turned toward an inner reality.

This paper aims at presenting the postcolonial aspects of William Butler Yeats’s poetry. The term ‘postcolonial’ means not only ‘the anti-colonial’ but ‘the hybridity’. Leaning on the recent studies such as those of Edward Said, Jahan Ramazani and Homi Bhabha on Yeats and Irish literature, this study investigates the multiple aspects of Yeats as a postcolonial poet. First of all in this paper, Yeats’s complex reaction to the two consecutive wars in Irish history is examined thoroughly. The two wars accelerate the process of decolonization in Ireland, and after 1920s the country enters an at least partially postcolonial state by succeeding in reaching home rule. Yeats writes two important poems about the wars, “Meditations in Time of Civil War” and “Nineteen Hundred and Nineteen.” Because of his familial background as an Anglo-Irish Protestant, the poet is unable to wholly support either side of the conflicts. Whether in the war of the colonized against the colonizer (the Anglo-Irish war), or in the battle between the colonized themselves (Republicans vs. Free State supporters), his position is far from complete support for either party. Just as the speaker of “Meditations in Time of Civil War” feels sympathy for the fighting troops or ponders whether or not to join them, it is not certain as to which side he would lend his allegiance. This lack of certainty and the divided loyalties is another sign of his conflict in the postcolonial position. His dual loyalties are well represented in terms of the features of postcoloniality, namely, hybridity and ambivalence. During the colonial state and the partially postcolonial state, Yeats’s involvement with Irish politics had never been static or straightforward or comfortable. His writings more often represent conflicted responses to the issues of Irish nationalism and British colonialism. Therefore, his body of work, his political beliefs and his involvement in the anti-colonial struggle require the serious consideration for such concepts as resistance, tension, ambivalence, and hybridity. Therefore, my main contention is that the tensions and contradictions inherent in Yeats’s later poetry can best be explored in the context of his postcoloniality. Yeats’s contradictory and uncertain attitudes and stances cannot simply be defined by leaning to ready-made political labels.