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.

This paper examines Yeats's idea of hero and heroism in his Cuchulain plays. Cuchulain is the mythological champion of the ancient province of Ulster. He is the protagonist in a cycle of plays written by Yeats over a span of thirty-five years. Cuchulain became for Yeats a personal symbol for the heroic as well as the national ideal. He was not only his mask or alter ego but also the chief representative of that heroic age to which Yeats wished Ireland to aspire. Yeats significantly altered the Celtic legend to serve his dramatic purposes. He was concerned more with the nature of heroism than with the character and the life of the Ulster champion. So he was not interested in the hero's superhuman feats of arms or bravery which his source had emphasized. Instead he wished his countrymen to learn the hero's spiritual virtues: the unyielding spirit of challenge in At the Hawk's Well; selfless courage and sacrifice for his country in The Green Helmet; the comparison and contrast between the actual anti-heroic world and the heroic ideal in On Baile's Strand; true love and self-sacrifice of his wife in The Only Jealousy of Emer; forgiveness, mercy, unselfishness, and transcendence of the fear of death in The Death of Cuchulain. Cuchulain's heroism consists in a combination of daring, gaiety, strength and beauty, and he is a free man, a challenger who, whether he wins or loses a specific battle, is ultimately victorious over himself and over others. The hero is freed from every form of hesitation, both moral and physical. The essence of Yeats's heroism is sacrifice and the creative joy separated from fear.

As a symbolist, Yeats used many symbols in his collected poetry. Therefore, if you do not know what the symbols in Yeats's poetry are, you cannot understand the hidden meanings in Yeats’s mystic and prophetic poetry. One of the significant symbols of Yeats’s early Rose poetry is the Immortal Rose as the Divine Feminine, Daughter Sophia in Christian Gnosticism. Yeats not only emphasized the feminine principle as a symbol of the Immortal Rose but emphasized the role of the masculine principle with various symbols. Especially, in Stories of the Red Hanrahan, Red Hanrahan symbolized as the role of the masculine principle, searching for the Immortal Rose, Echtge through his lifetime. Therefore, Red Hanrahan is identified with Yeats's self-portrait as well as a symbol of the Arthurian Knight, searching for the Holy Grail as the Divine Feminine. After the symbol of the Immortal Rose in his early poetry, Yeats continued to display the symbol of the feminine principle with various animal symbols such as a hare, cat, colt, and lion.Yeats alluded that the Immortal Rose was suffering on the rood of time during the last 2000 years period of the androcentric age. The meeting of the hare and the hunters represents the balance of the masculine and the feminine principles as the New Age comes. The hare is identified with a dying lady in “Upon a Dying Lady” as a hidden savior, suffering in the world. However, the death does not represent a real death but symbolized as the recovery of Sophia's glory and power. As Red Harahan’s anti-self, the fool dreamed the meeting with the hare and the hunters and hounds. The meeting is a paradoxical symbol for Yeats to hide his mystic poetry from the world until the right time comes. Yeats believed that at last his beloved, the Immortal Rose would awaken from a deep sleep and open his prophetic poetry in the last generation of the masculine Trinity age. A cat also represents the wisdom and dignity of the Daughter Sophia in the world. It is contrast with the symbol of the hare, symbolized as a sacrifice and sufferings of Daughter Sophia. Therefore, the symbols of the cat and the hare are related to two aspects of the feminine principle: proud and sad Rose. Yeats asked all sages in the last generation as a symbol of hunters and hounds to search for the hare, the Immortal Rose in the world. Yeats also prophesied that the last reincarnation of the Immortal Rose, would come from the East as the cat crawls into the Buddha represented Asian religion. Therefore, Yeats emphasized all sages to turn to the East, representing “Meru” and “Buddha” to find the last reincarnation of the Immortal Rose. The cat image also developed the symbol of the lion. The Daughter Sophia symbolized as a cat would awaken and recover her glory and power as showed the Sphinx in “The Second Coming.” As the 2000 years period of the androcentric gyre is gone, the Immortal Rose will have her characters such as Jane and the fierce young woman, who severely criticizes the bishop and she was angry at the persecutors during the androcentric age. Yeats showed the symbols of the Divine Feminine such as Sphinx, Buddha and a girl but they are One. It is related to the three aspects of the Immortal Rose such as red, proud, and sad Rose. She is in the world as showed "a plummet-measured face." Mathematics is a symbol of material not supernatural. Yeats prophesied the hunters, the chosen men to search for the Immortal Rose, the hare when the right time comes. The Sphinx’s “Empty eye ball” may be related to the “cold eye” symbolized as disdain and breaking the imperfect world as the great Judge in the Last Great Judgment Day. The colt symbolizes as the sufferings of the Immortal Rose like a hare. However, Yeats prophesied that the colt also would be released by the suppress from the masculine Trinity age. At the end of the androcentric age, the masculine principle would be united with the feminine principle as the symbol of the dead hare meets hunters and hounds in “Hound Voice.” The meeting of the hare and the hounds represents the Immortal Rose meet with the sages to prepare for the New Age. Therefore, the various animals and hunting in Yeats's poetry are paradoxical symbols to show the achievement of “Unity of Being” and the New Age.

The purpose of this paper is to assess the current state of W. B. Yeats’s poems in Korean translation. My examination includes nearly all of the Korean translations of the quoted verse lines of Yeats’s poems appearing in The Yeats Journal of Korea between 2006 and 2008, and parts of translations of Yeats’s works published as separate volumes by the Yeats Society of Korea since 2003. Although so far three generations of scholars have actively engaged in Yeats studies and translation of his works since 1945 when academic research on the poet began in Korea, the translation endeavours by the second and third generation scholars have not yielded satisfactory results and that the senior group of scholars cannot shirk its responsibility.The problem areas in the translations include choice of words and phrases, tense adjustment, versification and punctuation as well as scene description and poetic imagining. Following a detailed discussion of inappropriate and awkward translations, I offer my own translation for comparison if need be.

The paper searches parallels between English and Korean poetry as represented by Kim Chunsoo and Kim Jonggil, two of modern and contemporary poets in relation to W. B. Yeats. It clarifies the validity of such a comparative study by showing the interrelationship in the visual art, for it is there physically to see, as exemplified by the giving and receiving of Picasso and Matisse through their works. Even though it is not that easy in poetry, it is nevertheless possible to relate such relationship in it. Yeats has been a great influence on English and American poets; and a large number of researches and studies have been done. But Yeats has not been compared with Korean poets, in part because Korean and English are totally different languages. But as this study has shown, this kind of study could give benefits to both scholars and writers as well. This paper selects two of Kim Chunsoo’s early poems to compare with Yeats’s parallels. The fact is, Yeats’s poems seem to have had influence on the early Kim. Kim's poetry is different, though. What we could benefit from this study is that Korean poets need not worry about influences from great foreign poets. Understanding foreign language poetry helps Korean poets enrich their own poetry by learning what their true self is, what language Korean is; Kim must have learned that from reading Yeats. The paper takes and analyzes Kim Jonggil in relation with Yeats. Kim Jonggil is different from Kim Chunsoo; Kim Jonggil teaches Yeats and other poets in English. But what interests me is he is far different from other Korean poets. He seems to have transcended foreign influences, not to mention that he has outgrown Yeats and other English poets. Two of Kim’s poems are elaborated in relation with Yeats’s. I deal with Kim’s supreme poem with one of Yeats’s best. Kim’s quality compares well with Yeats’s, but his poetry itself is different from Yeats’s.

Yeats’s studies of ancient myths, legends and occult tradition form a part of his artistic enterprise to quest for the occult wisdom and reaffirm the power of occult imagination. His work is so deeply immersed in the supernatural that it intends to regenerate the modern world by reopening ancient spiritual wellsprings and reviving primal religious sensibilities. His interest in occultism did most to create occult images and symbols as signs of imaginative salvation. Yeats’s mystical lore helped him ascertain the spiritual reality within human consciousness and use magical symbols as a means of calling up visions. Art for Yeats is about the “wisdom of the daemonic image” which holds for a moment of illumination the warring opposites of flesh and soul. Yeats created occult images of spiritual intensity to convey the quality of the Unity of Being out of the increasingly scientific and secular culture of the modern age. His occult images create the rich texture of his poetry that examines the spiritual situation of modern humanity.

This paper investigates the images of landscapes in the poetry of W. B. Yeats and T. S. Eliot, the two greatest poets of the last century. Facing landscapes of the present world and the ancient as well, using his imagination, Yeats maximizes the poetic quality in his poetry. Some of his favorite landscapes, for example, include Innisfree, an islet in Sligo, Thor Ballylee in Coole Park, Byzantium, which delineate clear-cut images of his poetic themes. Either Yeats lived in Sligo with his mother's parents in his childhood, stayed in Lady Gregory’s house in the Coole Park, and owned and lived in the tower, Thor Ballylee in summer; or he admired the old Byzantium that he idealizes in his supreme poems. They serve as optimum metaphors for his poetry, making his poetry simple but rich in its imagery. On the other hand, Eliot focuses on delineating the life of modern man in his poetry by using cities, including London, Boston, Paris, and St. Louis. The people of the cities are being described as faithless and purposeless with their mind void. His depiction of the city further represents the whole modern civilization. The big city is the backdrop of such infertile imagery of modern man.

Building on the readings of Yeats’s esoteric poems, essays, and A Vision, I poses to rethink the ethical dimensions of his occultism, more specifically his reflection on an encounter with the transcendental beings. The need for rearticulation of the role of the ethical, that is the relation to the other gains urgency because the transcendental 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. A Vision was the culmination of Yeats’s lifelong wish to relate the divinity of the supernational beings to the human soul. In order not to present God as a personal deity, Yeats says only about the nearest equivalent his system offers to God, the gnomically-named Thirteenth Cone. The Cone is actually a sphere because sufficient to itself, but as seen by man it is a cone. It is more a symbol of the human relationship to the ultimate being than a symbol of that ultimate itself. Otherwise unknowable, the supernatural beings could be evoked by symbols. The symbol's job for Yeats therefore is not, first and foremost, cognition, in the sense of understanding, calculation, and definition, but instead bringing what is other for language and thought into the openness of its alterity and maintaining this alterity against the power of cognitive assimilation. Yeats lets the symbols work up the mind to evoke the world of the supernatural beings, which will remain unknown to those who relay on the evidence of their senses. “The Cold Heaven” gives a good illustration of the human relation to the supernational beings, for it combines Yeats's own personal history with his supernatural vision. Staring at a winter sky, he desperately looks back at where his life has gone, gathering together in a passionate fusion the lacerating memory of his failure with Gonne and his themes of death, ghosts and dreams. Supernatural Songs shows how Ribh's ecstasy 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. "The Spirit Medium" well exemplifies the phenomenon of permeable structure inhabiting different regions of reality simultaneously so that the world of the supernatural being and that of the individual, inside and outside, one side and the other, subject and the other, appear as correlated and overlapped as equal parts of the inhuman symbolic spirit medium.

This paper is an attempt to discuss Yeats’s ultimate reality. Yeats’s Unity of Being can be said to be similar to the system of Upanishad’s AUM because AUM is the combination of Brahman and Atman. Upanishad’s ascetic realized that Atman, reaching to a state of Turiya, can be Brahman. Subject and object, Atman and Brahman, dancer and dance, and the Four Principles and the Four Faculties also become one in Turiya. As we would identify Atman with our self, Brahman is our self-consciousness. Moreover, if we would identify Atman with our body, Brahman become a cosmos that reveals itself. Yeats understood the Self, the ultimate reality, through Upanishad. His macrocosm was made up of Husk, Passionate Body, Spirit, and Celestial Body and his microcosm was made of Will, Mask, Creative mind, and Body of Fate. In A Vision, the Four Principles, which consists of Husk, Passionate Body, Spirit, and Celestial Body affected individually and complementarily the Four Faculties which consists of Will, Mask, Creative mind, and Body of Fate. Spirit and Celestial Body are mind and its object, while Husk and Passionate Body are sense and the object of sense. Will and Mask are will and its object, while Creative Mind and Body of Fate are thought and its object. The whole system is based upon the belief that the Self falls in human consciousness. Robartes, from self-contained energy of contemplation, encompassed cyclic system in “The Double Vision of Michael Robartes”. He strayed away from the physical world, found his way into the supernatural world, and returned to the physical world again. Robartes's first vision is the state of total objectivity in which no human life exists. It is identical with U of Upanishad and Mask of the Four Faculties. And his second vision is, then, the state of total subjectivity, Sushupti, which unifies subject and thought, object and idea. It is the same as M of Upanishad and Creative Mind of the Four Faculties. However, he momentarily reaches eternity, Turiya, through the multiple contemplation. It is AUM of Upanishad and Body of Fate of the Four Faculties. In Turiya, Brahman and Atman, Buddha and Sphinx, dancer and Helen are integrated into one and accomplish the ultimate reality as a phaseless sphere. In conclusion, Yeats showed Unity of Being in “The Double Vision of Michael Robartes”. His Unity of Being is a kind of Turiya of Upanishad. He attains the Ultimate Reality completely, in which subject and object, macrocosm and microcosm, Brahman and Atman, the Four Principles and the Four Faculties 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.

W. B. Yeats in his whole life suffers from his introvert or passive self that hesitates to take action. In his agony, he creates his anti-self that boldly expresses his instinctive rage, and the anti-self is concretely established as a “fiery mask” in his poems. However, not oppressing the introvert and passive self completely, the fiery mask frequently conflicts and clashes with the passive self. Therefore, this paper explores how the fiery mask conflicts with the passive self in his “September 1913” and “Easter 1916,” and how in “Crazy Jane Talks with the Bishop,” the fiery mask overcomes such a discord represented in the two previous poems. In the first poem, the poet is indignant at political Irish nationalists who are unable to appreciate the true valuable arts. Attacking the political nationalists through the fiery mask, however the poet reveals his hidden self that hangs back from taking action. In the second poem, such hidden self under the fiery mask becomes undisguised, and the conflict between the fiery mask and the passive self is exacerbated and maximized. Such conflict is dissolved through a female mask, crazy Jane in the third poem. Usually, mad woman’s angry voice makes a strong impact on society even though she does not take a proper act from asocial responsibility of her rage such as revenge. Therefore, the fiery mask of crazy Jane makes the poet escape from his duty to take action resulting in the solution of the conflict between the fiery mask and the passive self. Ironically, Yeats’s ideal anti-self is completed in the mad female mask, crazy Jane, not in the courageous male mask.

The purpose of this paper is to examine the theme of The Only Jealousy of Emer, one of W. B. Yeats's 'Cuchulain plays'. The central action of the play is the struggle of three women—Emeer, Eithne Inguba and Fand—for possession of Cuchulain. Unlike Eithne Inguba's confused, cowardly action, Emer's behavior is brave as well as insightful. And as the chorus suggests, Fand's allurements are transitory. Fand's metallic allurement contrasts with Emer's passionate suffering. Fand wants to catch him to fulfill herself, not to aid in his salvation. Emer is more courageous than Eithne Inguba, more self-sacrificing than Fand, and more forgiving than Aoife. Emer's love for her husband transfigures her, whereas Aoife's vindictive hatred for Cuchulain costs them their only child. Emer is certainly a Yeatsian heroine who performs as nobly as Deirdre or Cuchulain. Yeats's most immediate source for his Cuchulain plays was Lady Gregory's Cuchulain of Muirthemne, but he significantly altered the source to serve his purposes. Emer's thwarted desire to attack Fand with her knife is one of the few links between Yeats's source and his much changed finished work of art. From this primitive tale of vengeance and jealousy, Yeats created a sophisticated drama of mental suffering and self-sacrifice. A second major change in the source involves Cuchulain's recollection of Fand's attempt to ensnare his soul. Both his fear upon awakening and his later praise of Emer for saving him suggest that he is glad of his deliverance, not despondent over the loss of Fand. Yeats's greatest modification came in his treatment of Emer's temperament. Instead of the jealous wife of seeking vengeance for herself, she is jealous only for her husband's well-being. By renouncing the love of the man she needs to end her loneliness, Emer proves herself superior to the source heroine. In the final version, Yeats dramatized, through Emer's hope for the return of Cuchulain's love for her, through her initial inability to give up her hope of winning back his love, and through her final renunciation of his love, the depth of her love and the extent of her sacrifice.

In the period of nationalism, W. B. Yeats's works address the loss of nation and resolute fights for independence and remembrance of the fighters killed in the struggles. Freudian ideas of mourning and melancholy and moral masochism and Jacques Rancière's ideas of colonial 'policy' or 'police order' and postcolonial 'politics' can provide effective tools to understand characteristics of the post-colonial works by Yeats. By putting side by side Freud and Rancière, we can produce a combination of mourning-colonial police-order vs. melancholy-post-colonial politics. The colonial police-order induces the colonized Ego to forget the loss of nation and move on to other objects, for example, money, through mourning. Melancholic post-colonial fighters derail the workings of mourning espoused by the colonial policy or police order. Melancholy and moral masochism of the colonized Ego are the driving forces of post-colonial struggles. Melancholy of the colonized Ego and sadism of the Super-Egoic demand of independence and moral masochism of the colonized Ego can explicate the bloody and 'erotic' relationships between the colonized Ego and the womanized ideal of nation, which have been interpreted as 'fatal mistress,' 'eroticized politics' and 'vampirism' by many Yeats critics. But melancholy and moral masochism drove the colonized Ego to fall into a fatal love relation with the female symbol of nation demanding unconditional sacrifice of the colonized Ego, which renders 'eroticized politics' and 'vampirism' noticeable.

'Eco-feminism' as a combination of two words, 'ecology' and 'feminism', rests on the basic principle that patriarchical philosophies are harmful to women, children, and other living things. Eco-feminists feel that the patriarchical philosophy emphasizes the need to dominate and control unruly females and the unruly wilderness. What is stressed in eco-feminism is to change the still prevailing idea that the male-dominated civilization must be justified: eco-feminists think that human beings came to recognize that such civilization can't be the source of happiness. Meanwhile we can find that in Yeats's and Heaney's poems land and landscape are personified as an oppressed woman, from which I drew a hypothesis that these two poets may offer the prominent examples of literature based upon eco-feminism. By contrast, we can also find that these two poets also reveal patriarchism based upon Catholicism. Therefore, if anything, we can suppose that many works of these poets are reflecting both eco-feminism and patriarchism. The Irish poems and poets cannot but reflect these two ideas: eco-feminism and patriarchism. Meanwhile, in Irish poetry, woman is mainly reflected as three types of human-sovereign, procreator and lover. In Yeats's and Heaney's poems, woman and nature are to be appraised as important materials. Women in Yeats's poems are faithful to the traditional image as the lover or rarely the sovereign. And also, we can find that the persona wants to use her as his poetic inspiration by admiring her beauty and seeking sexual energy and wisdom from her. By contrast, women in Heaney's poems are mainly described as procreators who are to survive the oppressed land. The two poets are to be appraised to reflect eco-feminism in that they both show their love for woman and nature. Strictly speaking, however, Heaney's poems are more declined to eco-feminism while Yeats's poems are more declined to patriarchism: in Heaney's poems land and landscape sometimes appear as the oppressed woman; in Yeats's poems the persona blames woman for her violence, emphasizing that woman should have courtesy, wisdom and sexual attraction, not the intellectual hatred, whereas in Heaney's poems the persona never blames woman but feels pity for her oppressed situation.

The purpose of this research is to study the Yeat's view on the good and evil in human nature. Throughout his life, Yeats has made a spiritual, mystical and mythological world in which he tries to portray the eternally dichotomized nature of human consciousness. Yet, he attempts to harmonize the antinomies, the contraries that highlight human nature. Yeats's life and art is full of such attempts to unify harmoniously opposite forces: body and soul, good and evil, light and darkness, the sun and the moon, the antithetical and the primary, etc.. In this almost impossible unison of conflicting forces, Yeats hopes to find the unity of the two. For Yeats, instinct without spirituality, intellect without emotion, wisdom without action, and good without evil can only express a part of human nature, and he refused to deny one side of human being. He did not want to separates his soul from matter, good from evil but to find the perfect balance and attain the assertion of the 'Unity of Being.'

This paper is focused on the rather esoteric search wondering if the two masters of letters across the recent West would communicate with each other in that they commonly lived in marginal countries, were schooled in English-speaking cultures and interested in the ultimate and overwhelming themes on 'maximalism' that mainly tends to put value on life and death, eternity and transcendence. This moment that the sublime mission of critics practices concreteness of obscurity recurs to us. Yeats tries to represent the motives stemming from myths and legends, while Borges pursues the representation of fantastic states missing in library, labyrinth and maze, which means their sympathetic embodiment of 'bricolage' on permanence. And through doubt of inertia realized in use of language and creation of works, Yeats practices 'automatic writing' and 'theory of mask' for the objectification of his works which results in construction of reality, while Borges does 'self-reflexivity' which shows us deconstruction of reality as broken mirror in favor of sarcastic criticism of writing. For the political positions of their biographies, the masters have something in common with their prominent careers and activities in which Yeats served the senate and resisted the British empire and Borges contributed to professor of a state-run university and stood against the Peron regime. Henceforth, some conjunctional and disjunctional points on intertextuality between the two masters can be inferred from their views on Buddhism and poems. In the respect that we, who can't be creators of texts but their agents, only drive violent 'assemblage' of code to camouflage Things, the suggestion that the immortal poem of Sowol's, "Azalea," imitated "He wishes for the cloths of heaven" and "The Lover Mourns for the Loss of Love" of Yeats's is reasonable and natural, and it can be deduced that Sowol didn't duplicate Yeats's poems but borrowed masochistic imagery from them, which reminds us of T. S. Eliot's declaration that only the first rank poet unnoticeably can steal other poets' works. On the other hand, Borges, through the parodized "Pierre Menard, Author of the Quixote," shows us the meanings of the text changeable with transitions of generations. Accordingly Sowol's poems tacitly responds to Yeats's poems, while Borges straightforwardly transcribes the original work in view of self-reflexivity. That Yeats's response to Shen-hsiu's and Hui-neng's Zen poems indicates that Zen can free people from the abstract mode of life fettering them is in contrast with Borges's reaction to Buddhism that 'a parable of arrow' and the high monk, Bodhidharma's insight de-constructing his pupil's faith of self-verification searching for his authentic mind only leads to meaningless groping of life. Although the masters's views seem different, virtually they are equal in the sense that life is nothing but some limited play in mood of 'tragic joy,' which is just like recognition of nothingness. Even if the entire works of Yeats's and Borges's can't be read, we can sense their themes converged under keynote of 'maximalism.' For pursuit of a Utopia, Yeats yearns for it, but Borges denies it. In recognition of reality and fantasy, Yeats tries to overcome reality through fantasy, while Borges thinks of reality as fantasy. Their positions on woman are extremely different in that Yeats exposes masochistic symptom, while Borges manifests 'carpe diem' mourning a beauty's fate finally encroached by the beast of time. For the ultimate theme of God, Yeats longs for unity with God, instead, Borges views God 'langue' as cultural and linguistic structure. Concerning cataclysm of civilization, the masters are of the same opinions in that Yeats asserts cyclic patterns of civilization to move from the one pole to the other pole and Borges songs a Nietzschean circulation. They show us considerably wide contrasts concerning recognition of eternity since Yeats yearns for immortal existence, while Borges views human beings ephemeral existences. In conclusion, intertextuality functioning an essential principle of life becomes the ground to deconstruct the boundary between authors and readers and shatters the absolute icons of authors and canons, since the moment we unfold texts before us, we often tend to indulge into illusion reading precisely them rather than 'misreading' them and recognizing reality caused by automaticity of linguistic structure. However, to avoid or lessen the contradiction or irony in the reading community, we can enjoy the horizon of split or inter-subjective meanings produced by diverse walks of readers with eradicating 'transcendental signified' of canon. After all, Intertextuality can be the background of De-construction, simultaneously serves the ideology of 'pragmatic theory' for texts not to be the origins or totalities of Things but to contribute to this and that aim of life.

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.

Recalling images from the past is one of Yeats's favorite poetic activities, especially in his old age. Many of his later poems are created on the basis of this technique, providing considerable information on his contemporary characters, events and other factors. In a sense, this kind of versification appears to mythify prominent historic figures in turbulent modern Irish history. In the poem "Municipal Gallery Revisited", Yeats sees his poetic personae as 'permanent or impermanent images', but ironically, they will be remembered permanently because of this work. They will also illuminate individual and national history dealt with in the poetic stanzas. Yeats's creative strategy is to enumerate a series of intense scenes that are worth remembering. To grasp a specific image in a particular moment is intended to reveal an absolute feature of a given character or a historical as well as cultural event. Through their own images, these people depicted in the poem are turned into symbolic characters. Greatness is impressed with a single scene and genuine perpetuity is uncovered with an instant reflection. In other words, a briefly described image is not just a section randomly isolated from a particular person's life. Rather, the image implicitly sums up and typically project an individual's complex personality in the poem, and in turn, on the reader's mind. The poet-narrator walks through the gallery, appreciating the portraits and other paintings on display and opens up his own creative world. Political characters in the beginning, then Hugh Lane and other Gregory people as a cultural stepping stone and finally the portraits of John Synge and Lady Gregory appear in sequence through the poetic work. Such a climactic approach stresses what the poet has in his own mind. Artistic ideals and literary colleagues who shared them with the poet are remembered and in the end, he himself go beyond the grave and sees his own self as an image already dead in an elegiac imagination. What he wants to record in a literary epitaph is gradually expressed along the long gallery of the museum. Eventually, the scenes composing this verse create a visionary gallery to light up the poet's real self.

In connection with the world beyond globalization, new theories such as Samuel Huntington's 'The Clash of Civilization', Gilbert Achcar's 'New World Disorder' and 'The Third World War' are emerging. This paper was motivated by the personal thinking that the Republic of Ireland as Celtic Tiger goes beyond globalization toward 'uisneach', as the hidden tradition, and that Yeats is a great guide to illuminate the quest and that Heaney is an inheritor or an achiever of the quest.This paper begins with the hypothesis that the modern Irish poetry is seeking their hidden tradition, 'uisneach'. I think that to understand the modern Irish poetry, we should first understand what is meant by 'uisneach'. 'Uisneach' has the various meanings: in the geographical sense, it means the area of the "territorially elusive" fifth province of Mide, the navel or the center of Ireland; in the religious sense, it means the sacred center of Ireland in pagan times; in the mythological sense, it is related to the Ulster Cycle including "Oidheadh Chloinne Uisneach", the fate of the Sons of Usnech, known as the Deirdri Ballads; and in the aesthetical sense, it means the origin where creative energy is flowing. W.B. Yeats was a knight in charge of the quest of the Irish political independence through the Celtic Revival against Anglo-Saxon's scientific modernity. His search for 'uisneach' reflects the resistance on the regional as well as the European level against Anglo-saxon's culture. Seamus Heaney's poetry is also going toward the fifth spiritual space where the Irish people believe a reconciliation is to be made, by taking some steps. And lastly, he also goes beyond the global space toward their hidden world based upon Celtic belief and the mild liberalist aestheticism. My last conclusion is that 'uisneach', a hidden tradition or vision means the Celtic vision modern Irish writers have sought. I think that Yeats is a poetic predictor or mentor to illuminate another waste land, Ireland, by suggesting the vision while Heaney is an inheritor in that he goes toward the hidden tradition Yeats suggested.