아일랜드와 우리 대한민국은 거의 같은 시기인 20세기 초반에 독립운동이 있었고 또한 20세기 중반이라는 거의 같은 시기에 공화국의 형태로 재탄생했지만, 아직까지 국토의 완전한 회복이 이루어지지 못하고 서로 다른 국가나 체제로 분리되어 있으면서 통합된 한 국가가 되려는 꿈을 버리지 못하고 있다. 아일랜드의 통합은 종교, 인종, 정치 문화적 색채의 차이점 때문에 우리의 통합보다 더 어려울 수도 있겠지만, 다른 한편으로는 800년 이상의 혼종화 현상과 이민 그리고 유럽연합으로의 정체성을 확장시킨 점 때문에 다양성을 수용함에 잘 훈련됨으로써 지역화와 세계화의 조화 속에서 그 갈등이 더 쉽게 풀릴 수도 있다고 생각한다. 대한민국의 경우는 단일 민족, 단일 문화 때문에 더 쉽게 통합될 가능성이 있으나 아일랜드의 경우와 달리 자유와 전제라는 극단적인 이질적 정치체제와 지역적 색채화만을 수용하려는 민족주의가 정치적 봉건화를 지탱시켜 세계화로부터 고립될 수 있는 위험성을 안고 있다. 또 다른 위험요소로는 통합의 과정에서 이루어지는 필수적인 사항으로 탈식민화을 위한 저항과 곧 이어 헤게모니 싸움으로의 내전이 수반될 수 있다. 이 논문을 쓴 동기와 목적은 요사이 회자되나 그 정의가 정립되지 않은 ‘통일’이라는 용어 등을 미래에 바람직하게 정의내릴 필요성을 느꼈기 때문이고 이것을 위해 거의 같은 상황 속에서 바람직하게 발전해가는 아일랜드를 연구해 우리의 문제점을 해결해 보려함에 있다. 아일랜드의 현대 역사는 영국과의 탈 식민전쟁, 그리고 내란으로 이루어지는 시기에 있어 다수인 게일 카톨릭이 과거 지배층인 소수 앵글로 아이리시를 패배시키는 과정, 그 과정에서 수반된 정치와 문화적 측면에서의 민족주의 강화, 그 후에 유럽연합의 일원으로 지역화와 세계화의 조화등으로 정의내릴 수 있겠다. 특히 이 논문에서는 앵글로 아이리시 계급에 속한 예이츠와 회복되지 못한 땅, 북아일랜드의 소수파였던 히니라는 두 시인이 탈식민과 내전에 어떻게 반응했으며 그들이 어떤 식으로 해결을 원했는가를 알아보기 위해 그들의 시를 다시 읽어보고, 한 국가 안에 존재하는 서로 다른 계급의 두 시인이 통합 아일랜드에 대해 지녔던 의견의 차이와 공통점을 찾아내어 우리의 가장 바람직한 통일론을 모색하려 했다. 그런데 두 시인의 가장 큰 공통점은, 종교와 인종면에서 지배, 피지배의 차이가 있을지라도 그 둘 모두 정치, 종교, 인종에 있어 자신들이 속한 공동체의 편견을 극복하고 문화적 공동기반을 다지려 했고 또 시인과 예술의 자유를 추구한 점일 것이다. 한편 그 둘 사이의 차이점은 그 방법론에 있었다. 예를 들면, 그 둘 다 종교와 인종의 편견을 뛰어넘으려는 의도로 조상의 뿌리를 켈트에서 찾을 지라도 아일랜드 자치국의 성립과 더불어 기울어가는 앵글로 아이리시에 속한 예이츠는 처음에는 카톨릭 민족주의 색채를 수용하지만 후기에는 기우는 신교 앵글로-아이리시의 문화를 옹호하려는 균형감각을 고취시키려 했다. 한편 히니는 처음에는 억압받는 북아일랜드의 소수파로서 영국에 저항하는 민족주의 색채로 출발할 지라도 민족주의의 과격성과 카톨릭 공동체가 갖는 편견과 폭력을 배격하고 양심공화국으로의 통합아일랜드를 역설한다. 결론적으로 두 시인은 정치와 종교, 인종의 차이가 강화시킨 배타성보다는 문화적 유대감을 강화시키려는 화해와 상생의 의도를 갖고 있다. 이 둘 모두 지배 문화인 영국을 완전히 배제하지 않으면서 자신들의 정체성을 미국, 유럽으로 확장시켜 그 국수성을 지양해 갔음도 알 수 있었다. 즉, 이 두 시인에게서 민족주의는 문화적 정체성을 확립하는 일에 역점을 둔 것으로 그 과정에서 호전성과 배타성보다는 화해를 통해 식민화에서 파생된 이질성과 혼종을 받아들였기 때문에 지역성과 세계화를 조화시킬 수 있었다. 마지막 결론은 우리의 통합에도 국수적 민족주의와 맞물려 있는 정치적 봉건성으로의 퇴보보다는 지역과 세계화의 기류 속에서 문화의 정체성을 추구함이 선행되어져야 할 것이다.

Yeats’s study of fairy had occupied him steadily for fifteen years from 1887 to 1902. He continued to study in connection with spiritualism until 1915. Yeats’s own collection of Fairy and Folk Tales of the Irish Peasantry had been published in 1888, Irish Fairy Tales in 1892 and The Celtic Twilight in 1893 before he met Lady Gregory. Any theory about nature of the fairy-faith shared with her came from Yeats, and he claims originality. In writing The Celtic Twilight(1902) his study of fairy was deepened by his collecting trips with Lady Gregory. The result of Yeats’s collaboration with lady Gregory was not to appear until 1920 when she published her two volume edition of Visions and Beliefs in West of Ireland, “Collected and arranged by Lady Gregory: with two essays and notes by W. B. Yeats.” Yeats’s essays(both dated 1914) were “Swedenborg, Mediums and Desolate Places” and “Witches and Wizards in Irish Folk-lore.” Like all the Irish antiquarians, Yeats also commonly referred to the fairies as “the people of Raths,” “the Danaan nations,” “The Tribes of the Goddess Danu,” In Fairy and Folk Tales he explains the Galic terms. The Irish word for fairy is sheehogue[sidheog], a diminutive of “shee” in banshee. Fairies are deenee shee[daoine shee](fairy people) In Irish tradition anyone may be taken by the sidhe, but there is, in fact a hierarchy of those who are most desirable. Yeats follows this tradition in one of his first poems about the sidhe, “The Stolen Child.” As Yeats understood the Irish tradition, the sidhe can do nothing the help of mortals and it is for this reason that they must always seek out humans. When the sidhe takes someone that person is said to be “away.” As a spiritualist would interpret this, it means that the soul has left the body and is travelling with the fairies. Often when appears ill or asleep or “lies in a dead faint upon the ground” it is because that the person is “away.” The Sidhe, according to Yeats’s countrymen, never takes anyone or anything without leaving some changeling in its place. In The Only Jealousy of Emer―Yeats’s most successful and moving dramatization and use of a changeling― Emer guesses that Cuchulain is “away.” When people are taken to live with the sidhe, they take on supernatural powers and work and live just as the Shape Changers that they are amongst. The chief distinction to be made between the shide and the dead is that the dead returns to the earth as ghosts of their former selves, whereas the sidhes are the everlasting ones. The idea that the fairy faith is in reality a doctrine of souls was lent supported by the fact that the country people say that almost all who are dead are taken by the sidhes. As the place where souls temporarily reside, the middle land of the sidhe is the Bardo of the Tibetans, the summerland of the Spiritualists, and ethereal world of theosophy and magic. Yeats saw his studies of spiritualism as a continuation of his studies of fairy, both of them as leading to the beginning of his philosophy. His study of fairy led him to the formulation of two theories that makes his system possible―that of Anima Mundi and that of the “airy body” or “vehicle” of the soul. A Vision is the result of his study about the fairy.

Some critics have argued that William Butler Yeats and Irish Literary Revivalist defend nationalism in symbolic compensation in the form of mythologizing for the loss and trauma which result from the long history of the British colonial rule. Their focus has been the Celtic mythology and that of Mother Ireland. Other critics present their counter-argument by designating James Joyce as the precursor of the counter-movement which manifests the resistance against Yeatsian mythologizing among the exiled poets such as Beckett, Flann O’Brien, and Thomas MacGeevy, including Joyce. Establishing such polarity in the approaches to modern and contemporary Irish poetry in this way will produce a problematic logic which causes a secondary binary opposition between extreme nationalism and abstract cosmopolitanism. In attempts to avoid a futile reconciliation of the two arguments, one needs to redefine or deconstruct the master or grand narratives concerning myth, nation, and nationalism. Also, one might feel it necessary to provide a persuasive discussion of the interrelationship between myth and nationalism. Recent theorists such as Benedict Anderson, Lia Greenfield, Homi Bhabham, and Eric Hobsbawm have provided persuasive theories about nationalism and beyond-nationalism. Critics such as Tom Garvin, Desmond Fennell, Marianne Elliott, Roy Foster, Seamus Deane, Declan Kiberd, and Luke Gibbons have investigated the potential methodology to overcome the logic of binary opposition concerning Irish nationalism from the self-reflective perspective. The common ground of these critics and theorists is based upon the definition of nationalism in terms of what Benedict Anderson calls “imagined community” which is based upon the discursive anchors such as narrative, myth, and symbol. Irish national myth offers one of the most typical case study for this “imagined construction.” Using Richard Kearney’s term “post-nationalism,” the objective of this paper is to present a perspective of post-nationalism, and to demonstrate the polyphonic voices of modern and contemporary Irish poets, starting from Yeats and Joyce who have been approved among critics as the poets of the two mainstreams in 20th-century Irish poetry to those post-Yeatsian/Joycean poets such as Patrick Kavanagh, Austin Clarke, Thomas Kinsella, Seamus Heaney, and Derek Mahon, to name a few. My anchors of discussion are mythologizing, demythologizing, and remythologizing.

Yeats’s imagination is filled with the deliberate efforts and will to transform the given reality and self. Influenced by William Blake’s visionary or symbolic imagination who had pursued the eternal essence of life, Yeats sought for the perfect and beautiful as the goal which human beings should try to reach. In ‘Adam’s Curse,’ he asserts, since the Fall, there are nothing perfect and beautiful without one’s deliberate labour to reach them. A good poem necessarily needs lots of repeated correction, “stitching and unstitching,” but finally if it doesn’t seem natural like “a moment’s thought,” all the efforts and labour which have been made comes to be futile. In that the naturalness in poems through laborious process is emphasized, it can be said that his poetics would seek to the perfect and the refined, in content and expression, but most of all his great concern is on one’s passion and the laborious process to transform the reality as it is through imagination. This paper aims to explore the achievement of Yeats’s transformative imagination acted on the idealization of Anglo-Irish aristocratic tradition and nationality in terms of the discourse of nationalism. He projects onto Anglo-Irish aristocratic class the intellectual leadership over the crowd and the organic continuity and tradition which Irish middle class, that he hates, is regarded to lack. Under the threat and violence of Irish Catholics who began to make claims to their rights on dispossessed land, the Anglo-Irish, who had enjoyed the power and wealth since the 17th century, were forced to feel crisis. The Anglo-Irish were destined to play no more active roles in the following Irish history and would be in danger of isolation. Thus his idealization of the Anglo-Irish was constituted where his desire and fear meet. Here Yeats’s idealization of Anglo-Irish aristocrat was made retrospectively in the crisis. The Gregorys’ Coole House and Yeats’s tower, Thoor Ballylee are representative symbols in which he idealized the Anglo-Irish culture and its heroic tradition. The sense of form which Yeats found in the architectural form of Coole House as well as “courtesy” and “ceremony” in aristocrat’s life is one of the heroic ideals Yeats pursued throughout all his life. In poems dealing with this theme, we can see that he idealizes the Anglo-Irish culture and tradition by giving them the idealized heroic values such as the recklessness, intellect and courtesy, criticizing the rigid mind and snobbism of native middle class people who is indifferent to one’s spiritual value and imagination. This is the discourse of nationalism which insists on one’s nation’s innocent, continuous and self-sufficient attributes and proves its superiority to other nations. They would hide the fact that it is invented or constituted by purpose, assuming naturalness and making national myth a self-evident fact through various cultural discourses. But Yeats’s transformative imagination, as seen in ‘Adam’s Curse,’ puts great emphasis on one’s labour made behind to reach the ideal and the opposite to the reality, he lays bare his deliberate efforts of idealizing, not making natural by hiding and mystifying it. Here his poetry comes out of the typical discourse of nation. Like the Anglo-Irish ancestors who founded the magnificent house dreaming the ideal, Yeats himself who wrote a poem in the crisis of breakdown of the Anglo-Irish nationality by historical change and violence wanted to be memorized to his heir as a founder, “befitting the emblem of adversity.” In ‘Meditations in Time of Civil War,’ and ‘Coole Park and Ballylee, 1931,’ we can see that he makes the myth of Anglo-Irish nationality and at the same time demystifies or deconstructs it by showing that it is invented.

In my article titled “Nationalism of William B. Yeats and Seamus Heaney in their early poetry: mythic nationalism and realistic national consciousness” which was published in The Journal of English Language & Literature Vol. 45 No. 3, I analyzed three among four factors of nationalism (implicated) in the two poets’ early poetry, that is, ethnicity, language, territory. This article deals with one remaining factor of nationalism, religion, in their middle poetry. Religion is so powerful an influence in Ireland that Irish nationalism can be considered Irish Catholic Nationalism. The political, religious, and economic conflicts between Anglo-Irish Protestants and Catholic Irish made Ireland divided into Northern Ireland and Southern Ireland, after Ireland was liberated from British imperialism in 1922. The native Irish who had lost even their mother tongue, Gaelic during the colonial period of almost 800 years ruled by the British Empire sought their national identity in Catholicism and made the religious oppression of Britain their centripetal force. To Yeats, religion was not a dogmatic faith of institutionalized religion but a field in which his imagination of the supernatural is allowed full play to go beyond the ephemeral real world to the eternal spiritual world. He set the Irish religious identity on Irish countrymen’s native faith in faerie, ghost, eternity of soul, and the world of magic expressed in Irish legends, folklore, myths, and oral traditions. He satisfied his hunger for the ultimate truth of universe with the Irish ancient faith in the mystical world of the everlasting soul and the visionary as well as various kinds of mysticism in the East and the West. The mystical religious identity of the native Irish emphasized by him anticipated the continuous collisions among him, the Catholic pulpit and Irish nationalists. His romantic belief in a heroic spiritual Ireland materialized his Irish Literary Movement and his idealized Anglo-Irish Ascendancy culture was far from the political nationalism of the middle class of Ireland, the political class of the people democracy. Seamus Heaney has also suffered from the conflict between his cultural․ political ideals which are fundamentally Ireland-centered and the political reality of the violent IRA (Irish Republican Army) which kills even civilians at random for the cause of nationalism. To Heaney the religious faith was a recognition of the deep value of the religious ritual and the Catholic ritual has been internalized in his feminine poetic sensibility of patience, humility, duty, discipline, guiltiness, grace, wonder, and the ritual supplication. The Irish religious identity he put an emphasis on was not the visionary mystic one of Yeats but the real one which has been internalized in the minds of the native Catholic Irish as “self-afflicting compulsions” and spiritual paralysis, especially in terms of political martyrdom complex in IRA and historical defeatism of Catholic priests in Northern Ireland. Both Heaney and Yeats opposed violence of nationalism and sought their ideal one. Religion has had a devastating influence on the two tribal struggle in Ireland so that the two poets refused the established Christianity and tried to enhance Irish republican nationalism to the genuine nationalism allowing the peaceful co-existence of the two races living in Ireland. Heaney demythodized Yeats’s myth of the political martyrdom and denied the religious halo of Irish nationalism as well as the mythodized force in the history of the Northern Europe. His quest of democratic co-existence of plural culture in Ulster seems realistic and idealistic solution of the Troubles in Northern Ireland.

예이츠 비평가들은 예이츠의『갈림길』(1889)을 주로 영적인 측면의 화합을 추구하는 작품으로 보는 경향이 있다. 1948년 리차드 엘만이 예이츠의 시는 궁극적으로 화합된 의식을 좇고 있다고 갈파한 이래 이 말은 예이츠 비평의 정석처럼 되어 버렸다. 많은 학자들은 비록 왜 예이츠가 영적 화합을 그토록 갈망하는 지에 대한 이유에 대해서는 각기 다른 설명을 제시하고 있지만 그가 『갈림길』에서 영적 화합을 추구하고 있다는 사실은 부인하지 않고 있다. 1996년에 발표된『예이츠와 연금술』에서 윌리암 고르스키는 아직도 예이츠의 영적 화합의 추구에 대해 다른 결론을 내리기가 힘들다고 결론 짓고 있다. 이러한 결론은 결국『갈림길』의 일부의 시만 다룬 결과임을 알 수 있다. 즉, 예이츠 학자들은 주로 이 시집의 전반부의 시들만 다루고 후반부의 시들 즉, 몰 메기의 발라드 , 여우사냥꾼의 발라드 , 등과 같은 시들은 언급을 하지 않고 있음을 알 수 있다. 물론, 학자들의 이러한 접근 방법 및 결론이 전적으로 그르다고는 할 수 없지만 나는 이 논문에서 『갈림길』을 영적 화합의 추구로만 보면 예이츠의 의도를 부분적으로만 이해하는 것이라고 주장하고 싶다.『갈림길』의 의도는 이 시집에 수록된 총 16 편의 시의 의미와 그 시들의 유기적인 관계를 잘 분석하여 결론을 지어야 한다는 것이다. 이 시들은 일정한 원칙 하에 배치되어 있는데 그 원칙을 살펴보면 각기 8 편의 시가 한 그룹을 형성하도록 되어 전부 두 그룹이 만들어져 있다. 처음 그룹의 시들을 살펴보면 은 각각의 시가 동과 정, 이상과 현실, 순간과 영원 같은 반대의 요소들로 균형을 이루고 있고 두 번째 그룹의 시들은 공과 사, 과거와 현재, 카톨릭과 프로테스탄트, 상류와 하류, 그리고 연방주의자와 분리주의자 같은 반대의 요소로 균형을 이루고 있음을 알 수 있다. 첫 번째 그룹은 영적 화합을 추구하고 있으며 이 의미는 우리가 아는 대로 동과 정의 두 반대 요소가 다 필수적이라는 것이다. 다시 말해 이 두 요소가 잘 조화를 이룰 때 우리의 영적 해방이 이루어진다는 종교적인 메시지가 담겨있는 것이다. 마찬가지로 우리는 똑같은 원리를 두 번째 그룹의 시에도 적용해야 하며 그 의미는 카톨릭과 프로테스탄트 같은 적대 세력이 서로 화합해야 아이랜드에 진정한 평화가 온다는 것이다. 다시 말해 상반된 두 요소 즉 영혼과 육체, 사랑과 미움을 모두 받아들이는 것이 새로운 자아 형성을 위해 필수적이듯이 상류층과 하류층, 연방주의자와 분리주의자들 모두를 받아들이는 것이 새로운 아이랜드의 건설을 위해 좋다는 것이다. 정확하게 말해서, 갈림길은 아이랜드의 정치적 분열을 치유할 수 있는 화합의 모델을 종교적인 개념을 통해 제시하고 있다는 것이다.

This paper starts with the hypothesis that Irish literature should be different from English literature in theme, feeling and the technique of expression. The differences the writer has found so far are as follows: the search for the father-omphalos, the personification of nature, the recognition of sex as an origin of creation, the search for aesthetics of darkness, the attachment to silence, the spirit of wandering, the cyclic view of the world and dramatic self-awareness, etc. Since the end of the 19th century, the Irish writers’ strong attachment to their own tradition has been expressed as their reaction to a sense of lack as reflected in terms such as “center,” “omphalos,” and “search for father.” This phenomenon accounts for the birth of Irish national literature. From Oscar Wilde and Bernard Show in the 19th century to the recent poet, Seamus Heaney, they tried to deanglicize and create their own literature. But through this process, they have not neglected the chance to become a master of the international literature, by using the language of enemy. And each writer has a peculiar method of deanglicizing. For example, Oscar Wilde and Bernard Show who contributed to cosmopolitanism of modern Irish literature attacked and illuminated the English audiences by the reversing play-role. Understanding the enhanced nationalism, W.B. Yeats and other revivalists of Irish literature integrated English culture and tradition into the nationalistic movement. This is why their works were called “the cracked glass of the servants.” J. Joyce and other modernists, in a genuine sense, sought for their original nationality and to do this, they tried to recognize the picture of themselves as paralysis. From the establishment of the Irish Republic to the recent, strong nationalism and internationalism, as it has grown as one of the European countries, have been reconciled. Modern Irish literature has succeeded in regaining its own tradition and reaching top as one of the international literatures, getting through the five phases. During the first phase it showed the spirit to reverse the English cultural system and value by preempting the role of the English. The second phase is the period when they stimulated the national feeling and praised national heros. At the third phase modernists including Joyce, Kinsella, and Clarke attacked the nationalism of the second phase, saying that it was like a bubble full of the imagination the English wanted, and they exposed the realistic viewpoint of Irish life to their literary works. The fourth phase shows the reconciliation between parochialism of P. Kavanagh and cosmopolitanism of J. Montague. The fifth phase shows that with the enforcing of nationalism caused by the Ulster Trouble, harmony of nationalism and internationalism has been sought. The most important element that has led modern Irish literature to the top level is the spirit of omphalos through their confidence in their own culture and the sense of lack, and thereby the attachment to losses in language, land and tradition. Besides these, modern Irish writers haveoriented from the early period the Irish Republic towards an international country. The harmony of regionalism and cosmopolitanism, as well as that of individual interests and community interests, has led the Irish Republic to become one of the best postcolonial countries and cultural models.

감자 재배단지에 있어서 후작 벼에 대한 감자경엽시용방법 및 적정질소 시용량을 구명코자 경엽시용방법 3수준과 질소시용량을 4수준으로 처리하였던 바 1. 감자경엽을 토양중에 시용함으로써 Ammonia태 질소 방출량은 많았으나 토양의 환원이 심하여 수도의 초기생육은 무경엽구에 비하여 억제되었고 그 정도는 신군경엽구 > 반건경엽구 > 부숙경엽구 순으로 컸으며 질소시용량이 많을수록 더욱 현저하였다. 2. 감자경엽 시용으로 벼 식물체 경엽중의 질소와 가리함량은 무경엽구에 비하여 생육초기에는 낮았으나 후기에는 높았고 인산은 그 반대이었으며 규산은 전생육시기를 통하여 높았다. 3. 반건경엽구 및 부숙경엽구는 신군경엽구에 비해서 전생육기를 통하여 규산함량이 높았고 낮은 질소수준(N 5㎏)에서는 출수기까지 질소함량이 낮았으며 규질비는 높았으나 질소 10㎏ 이상에서는 그 차이가 경미하였다. 4. 감자경엽은 반건하거나 부숙시켜 시용함으로써 수도의 등숙비율 및 천립중이 증가되어 3-5%의 증수를 보였다. 5. 감자경엽 시용시 질소시비 적량은 구할 수 없었으나 수도안전재배상 10a당 7㎏ 수준이 적당할 것으로 보였다. 6. 감자후작벼 재배답에서는 토양중 유효인산함량은 과다했으나 가리나 규산함량은 부족되었다. 7. 수확기 경엽중 가리함량과 수량과는 정의 유의상관을 보였다.