이슬람교의 경전은 『꾸란』이지만, 이란인들은 유대교와 그들의 경전 『토라』 또한 존중하며 자신들의 문화로 받아들였다. 한편, 같은 아브라함의 자손이 창시한 종교의 경전으로서 『꾸란』은 『토라』의 내용들을 다수 포함하고 있다. 이 때문에 이란인들은 『꾸란』과 『토라』에 나타난 공통 내러티브에 익숙하다. 11세기 페르시아 신비주의 종교철학을 문학에 접목시킨 종교시가 유행하면서, 시인들은 독자들에게 난해한 종교철학을 좀 더 쉽게 이해시키기 위해 자신들의 시에 페르시아인들에게 익숙한 『꾸란』과 『토라』 속 공통 내러티브를 인용하기 시작했다. 이렇게 탄생한 문학 기법이 탈미(Talmy)이다. 본고에서는 페르시아 문학을 통하여 반목하고 있는 종교들이 대화의 주제를 찾을 수 있도록 기독교, 이슬람, 유대교가 모두 존중하는 ‘페르시아 문학에 나타난 노아’관련 표현을 연구하고자 한다. 이러한 연구를 통하여 종교간 이해의 확장에 기여하고, 다양한 문화 교류가 이루어지기를 기대한다.

조지 엘리엇은 종교적 기반 없는 세속적 도덕관을 작품 속에서 구현한 작가 로 인식되기도 한다. 이에 반대해 본 논문은 그녀의 마지막 작품인 대니얼 디 론더에 나타난 유대 신비주의(카발라)의 양상을 분석하면서 엘리엇을 낭만주 의의 영향을 받은 종교적 작가로서 탐구한다. 유대 신비주의 사상은 인간의 자연적 삶 자체가 초자연적 목표를 향하고 있음을 시사해주고 있다. 이 논문은 대 니얼, 궨돌린, 그랜코트, 마이러, 모디카이라는 인물들에게 초점을 맞추어 이 작 품에서 유대 신비주의가 어떤 방식으로 구현되고 있는지 살펴본다. 우선 대니얼은 유대 신비주의에서 원형적 인간인 아담 카드몬을 상징함으로써 세계 구원을 위한 메시아적 사명을 가진 인물이다. 이에 반해 그랜코트는 악의 상징이자 화 신이다. 모디카이, 마이러, 대니얼의 연합은 이스라엘의 연합을 상징하고, 대니 얼을 통한 궨돌린의 변화는 이스라엘이 세계의 도덕적 견인차가 됨을 말해준다. 결국, 엘리엇은 이 작품에서 이기적인 자기 추구에 빠져 있는 당대의 현실 앞에서, 공동체와 전통을 매개로 한 도덕의 갱신이라는 목표를 유대 신비주의 비전 을 통해서 보여주고 있다.

예이츠의 시는 절대 결핍, 무, 신의 영광, 신학적인 난해한 언어 등을 내포하지 않는다. 도리어, 그의 시는 지적 탐구와 학식으로 가득하다. 그의 시는 신비 주의보다는 마술적, 영향적이라기 보다 지적, 주술적이라기보다 신학적 기질을 보인다. 따라서, 그의 시는 서양의 영지주의와 연금술적 전통으로 분류될 수 있다. 그는 세상 의 모든 신비주의적 영지주적 지식(즉 신비적 추상화)을 자신의 시 저술에 변형하고 통합한다. 그래서, 그는 낮은 신비주의, 즉, 신비주의라기 보다 영지주의자로 보아야 한다.

본 논문은 휘트먼의 『풀잎』에 나타난 신비주의에 대한 분석을 다루고 있다. 신비주의는 황홀경, 열락과 같은 초월체험과 초월의식으로, 자아소멸이나 자아가 확대되는 현상이다. 휘트먼의 신비주의 영성의 단계는 신/우주와 일체가 제시된다. 본 논문에서 휘트먼의 신비주의를 소리와 관련하여 5단계로 나누어서 분석하였다. 첫째 신비상태의 진입으로 내안의 영혼/신을 인식하기, 둘째 영혼을 통해 내면에 거하는 신의 사랑과 세상에 대한 새로운 인식하기, 셋째 외부의 우주적이고 신적인 존재와의 접촉과 자아정화 하기, 넷째 신과 합일되어 시공간의 경계를 넘는 영혼 비행과 각성하기, 다섯째 신비상태에서 깨어나기로 세분된다. 「나의 노래」가 신비주의 교본처럼 정확하게 신비주의 체험 과정들을 보여주는 시로 여겨짐을 고려해볼 때에, 윌리엄 제임스, 프리드리히 슐라이어마허, 리차드 벅, 폴 틸리히의 등의 사상을 바탕으로 『풀잎』을 분석해보는 것은 유의미한 작업으로 사료된다.

예이츠의 신비종교적 체험은 그가 평생을 두고 관심을 가졌던 영역이며 이를 통해 그의 독특한 세계령과 아니마 문디의 철학을 성립하는 기반이 되었다. 그중에서 블라밧스키의 체험을 통해 접하게 되었으며 하트만의 소개로 개념을 이해하였고 힌두교적인 관점에서 정리한 아카사는 예이츠의 철학과 작품세계에 있어 중요한 구성 요소가 된다. 예이츠에게 있어 아카사는 신비의 세계를 현세와 연결시켜주는 매개체이며, 동시에 눈에 보이지 않는 것을 눈에 보이게 만들어주는 형이상학적인 과정을 의미하기도 하는 등 예이츠의 신비주의 경험에 있어 핵심적인 역할을 하고 있다.

『세븐우드에서』에 수록된 시들은 각기 다른 독립적인 주제를 갖고 있지만 이 시들을 다시 전체적인 맥락에서 보면 상당히 교묘하게 꾸며져 한 이야기를 구성하게 된다. 이 이야기 속에는 주인공이 그 자신의 고뇌와 문제점들로부터 해방되기를 원하며 이를 위해 태양과 달의 결혼이라는 상징으로 여겨지는 자신만의 성배를 찾아 떠나는 여정이 그려진다. 이 성배는 신비주의 연금술의 산물이다. 예이츠가 여기에 매료된 것은 물질적인 영역에서 평범한 철을 철학자의 돌을 이용하여 금이나 은으로 변하게 하듯이 영적인 영역에서 인간의 몸을 완벽한 영혼의 소유자로 재탄생 시킬 수 있다는 이 시스템의 믿음 때문 이었다. 따라서 반인 반수가 의미하는 상징은 연금술적인 함의가 내재 되어 있는 것이다. 그러나 『세븐우드에서』의 여정을 통해 시인이 끊임없이 반복하는 주제는 신비주의 연금술의 마지막 목적인 남성상과 영성상의 신비적인 결합은 이 세상에서는 이루어질 수 없다는 것이다. 그러나 우리는 그 자신만의 성배를 찾기 위한 시인의 끈질긴 노력을 통해 우리는 시인의 예술적 상상력의 쉼 없는 진화를 목도하게 되며 이것이 바로 예이츠 예술의 정수이다

Kang Soon Myeong did not live a life of hermit nor show extreme and mystical understanding of Bible, but he made efforts to show a practical life as Jesus did facing up the reality of country at that time.In the same time, he lived a life of serving the alienated, the old, the weak, the children and the lepers just as taking care of his own body. He also stayed in the organized church(church community) including his family life(a married life). He dreamed of the pure church of Christ which has no human authority and Christian country through evangelism by "Celibacy Evangelism Board." He strived for evangelism of rural community and agriculture promotion, social reformation movement by" Farmer's Practice School" which was looked upon as a pioneer of the Sae-maul(New Community) Movement.He also practiced a life of relieving the poor as well as developing a movement against the Shinto shrine worship. He did not compromise with a life of ease but he fought with ecclesiastical authority which resulted rejection by denominations. When he was regarded as heresy by denominational church, he started to work with the church of Christ which looked same as his thought, spirit and teaching and kept working with Lord's church for the rest of his life in spiritual peace doing his best effort. Kang Soon Myeong lived this kind of life because of the influence from Gagawa Doyohiko, a Japanese saint, Sadhu Sundar Singh, a Indian saint, Kim Goo, Kim Seong Sil, a hermit of Gum-gang-san, Kim Kyo Shin, a nonchurch leader, Bae Eun Hee, Christian socialist, Dong Suk Kee, a preacher of church of Christ, and Lee Sae Jong, an saint of Do-Am whom he respected as teachers in his lifetime. Christian Mystic, The Church of Christ, Restoration, A secession from the world, Apathy to family, Relief to the poor, Serving the outsiders, Self-control, Transcendency to denominationalism, Reverence for Life, Prayer, Celibacy Evangelism Board, Farmer's Practice School, Hersey.

예이츠의 가장 초기 희곡 중의 하나인 『치킨 국물 뚝배기』는 어느 배고픈 부랑자가 인색하기로 소문난 노파로 하여금 국물을 끊이는 데 동참하게 만드는 희극이다. 유럽에서 널리 알려진 구전 설화로서, 예이츠는 여기서 가장 중요한 요소를 사용한다. 이 극에서 예이츠가 어떤 기법과 생각을 하는지 알 수 있다. 이 논문은 그가 평범한 구전 설화를 어떻게 재구성하여, 독백, 대화, 노래, 무대지시, 등의 서정적 형식을 통해 극화시키는지 연구한다.

One of the most important characteristic features of Yeats’s book of poems involves the fact that the poet intended his entire volumes of his poems to function as a single, unified work of art. In other words, the meaning of an individual poem in any Yeats’s book of poems cannot be fully appreciated without considering its relationship with the poems placed right next to it. Talking about one individual poem alone in a volume is like interpreting one chapter of a novel without linking its meaning to the next chapters. For this reason, understanding Yeats’s poems requires looking into a relationship between the poems and the principle of arranging the entire poems in a book of poems. In this paper, what I am trying to achieve is to answer the following three questions. First, what is a governing principle of ordering poems in Yeats's second book of poems, The Rose (1983)? Second, how such a structure or an arrangement helps to convey the thematic concern of The Rose effectively? Lastly, how Yeats develops himself as a poet after publishing his first book of Poems Crossways (1889). When we compare the method of ordering The Rose poems with that of Crossways, we see that Yeats slowly matures as a poet as he ages. Crossways consists of two groups of poems each with a religious and political context, respectively. In the first group, Yeats places poems dealing with balancing the conflicting forces of action and stasis, the ideal and the real, and imagination and actuality. The second group includes poems balancing private and public, past and present, and Catholic and Protestant, high and low classes, and unionists and nationalists. Yeats's ultimate message: just as we need a reconciliation of opposing religious elements, so we should achieve a harmony of different political groups. The Rose, on the other hand, reminds us of a kind of well-structured drama with the prologue poem working as the first act of a play. The first poem holds the key to the arrangement of 23 poems in The Rose. In other words, each line of “The Rose upon the Rood of Time” foretells how the entire 23 poems will be placed and foregrounds the main message of the book of poems. The first poem talks about a reconciliation of opposing forces and this message is repeated throughout the book by dealing with the idea of balancing two antinomian ideas. In addition, the time of each poem moves in-between the present and the past and eventually advances into the future, as is foreshadowed in the preface poem. The presence of the poet can also be felt throughout the book of poems. In The Rose, we meet a poet who keeps emphasizing the importance of maintaining a balance between mysticism and realism, reconciling his joy of love and pain of his failure, and announcing his love of Ireland or his nationalist ideals. Through The Rose, Yeats repeats the importance of balancing religion, people, and love. Although the second book of poems contains different poems and structural pattern compared with the first book of poems, his basic message remains the same: mysticism should be reconciled with realism and nationalism.

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.

Der Ursprung des islamischen Mystizismus geht auf den Begriff ‘Sufi’ zurueck, der mit dem Schafwolle bekleidet und asketisches Leben fuehrt. Als ein Sufi gefragt wurde, was der Sufi sei, antwortete er, ein Sufi sei ein Mensch, der nichts hat, aber von nimandem in Besizt genommen wird. Im Hintergrund des islamischen Mystizismus liegt die Entwicklung des Islams nach dem Tode von Muhammad insbesondere durche den Eroberungskrieg von Umaiya Hally(661-750). Die Machthaber des Islams wurden reicher und politisch unterdrueckerisch. Dagegen gab es immer wieder eine Gegenbewegung, die die Umkehr und die Ehrfurcht vor Gott aufforderte und dem Leben von Muhammad als ein ideales Leben nachfolgen wollte. Die radikale Trennung von der Welt, der asketische und einfache Lebensstil und die Einsiedlung waren ihre Merkmale. Karen Amstrong und Annemarie Schimmen, die besten Wissenschaftlerinnen des Islams, teilen die Entwicklung des islamischen Mystizismus in zwei Kategorien auf, bzw. der Asketik und der Liebe. In dieser Arbeit habe ich versucht, in diese zwei mystischen Bewegungen einzufuehren, um den islamischen Mystizismus am Beispiel von einigen typischen Mistikern zu verstehen. Erstaunlich ist, dass der islamische Mystizismus im 13. Jahrhundert in einer engen Beziehung zu dem christlichen Mystizimus steht. Die beiden zu vergleichen, bleibt als naechstes Forschungsthema. Heute interessiert sich sehr viele Leute ueber die Spiritualitaet. Spiritualitaet hat die Bedeutung im Lateinischen Sinne, ‘atmen’. Und wir stellen gleich fest, dass die Spiritualitaet mit dem Leben zu tun hat. Im Greek hat der Mystizismus seinen Ursprung in ‘mysterion’ und ‘mystikos’, die mit ‘myein’, also ‘schliessen’ zu tun haben. Wenn man die Spiritualitaet vom Mystizismus unterscheiden will, bedeutet die Spiritualitaet einen Weg von unten zu Gott. Aber die Mystik den Weg von oben nach unten, bzw. von Gott zu Menschen. Die Menschen von heute suchen die Ganzheit(Einheit zwischen Koerper und Seele), Praxis(Einheit zwischen Wort und Tun), Altaeglichkeit(Einheit zwischen heiligen und sekularen) und Geschichtlichkeit(Einheit zwischen Geschichte und Transzendenz) der Spiritualitaet. Und ich gehe davon aus, dass der islamische Mystizismus uns dazu befaehigt, uns mit der geistigen Herausforderung der kapitalistischen Gesellschaft auseinanderzusetzen.

Throughout Yeats's life, his occultism absorbed much of his time and energy. Yeats's occultism supported and enriched his poetry and plays, providing him with themes, the symbols, a philosophy that affirmed recurring self-renewal. Through the development of Yeats's occult thinking, from the Golden Dawn, through Per Amica Silentia Lunae, to A Vision, a continuous, coherent direction can be traced. Books II and III of A Vision, deal with the nature of the human soul, its different principles, and its progression after death. In "The Completed Symbol," Yeats elaborates on the Four Principles of the soul ― the Husk, the Passionate Body, the Spirit, and the Celestial Body. The Principles find their Unity in the Celestial Body, man's archetype in Heaven. In "The Soul in Judgement", examining the six after-death states, death, in general, is also presented as a transfer of consciousness from the physical plane to a higher one. During the first three states, or until Beatitude, the Spirit passes each time into a higher state of consciousness; after Beatitude, following the circular pattern of "The Great Wheel," the Spirit lapses slowly into relative unconsciousness. These six states, like the twenty-eight phases, affect each other, and in each one the Spirit has to act under certain laws. The soul has to pass through all of these states in order to progress and to prepare for its reentry into the physical world. This belief in the six after-death states stems from the occult sources mainly Theosophy which also teaches that the soul passes through six planes of consciousness after death -- the divine, the monadic, the spiritual, the intuitional, the mental, and the astral plane or plane of passions and emotions. Yeats uses the lunar cycle to explain the soul's journey between lives. The concept of the Thirteenth Sphere is important because in the occult traditions, the number thirteen is also symbolic of unity and perfection. In A Vision the Thirteenth Sphere represents Unity since in it all antinomies are resolved. Yeats's view of the soul is directly related to his belief in a universal duality ― the existence of opposite but equal forces that dominate a cycle alternately.

Yeats's poetry and writings were a display of his passion for mysticism and the occult. This view on Yeats has been largely expressed in various publications. Many of Yeats's critics, including Ellmann, agree that the roots of Yeats's system are in Theosophy. The roots of Yeats's philosophy are in Theosophy, being a comprehensive, unifying systems of all occult tradition, and the first metaphysical system that Yeats encountered. Being faced with the dilemma between faith and disbelief, Yeats contacted numerous texts on the subject occultism and met Blavatsky, the founder of Theosophy society, claimed to have the ability to offer a "synthesis" of religion, science, and philosophy. After many metaphysical conversations with her and many hours of long thought on the issue, Yeats took one of his first steps on his path of occult wisdom. Yeats's fascination with occultism and mysticism was so profound, and his need to create a unifying mythology so great, that he decided to develop an esoteric system of his own. Thus, between 1917 and 1925, Yeats had written A Vision, an elaborate, complicated system that is of importance in understanding Yeats's works. The first version, published in 1925, was later revised, and final version was published in 1937. In Book IV and V of A Vision Yeats had expounded the notion that history moves in great two-thousand-year cycles. This circle represents the moon and the twenty-eight phases of the moon which are closely related to the progression of time and world history. Yeats suggested all things are subject to a cycle of changes, which can be regarded as bi-polar, passing from a state of objectivity to one of subjectivity before returning to objectivity again. In this view he was strongly influenced by the Theosophists, especially Blavatsky and the Kabbalists, who saw the law of periodicity as one of the fundamental and absolute laws of the universe. Yeats believed that history was cyclic and that every 2,000 years a new cycle begins, which is the opposite of the cycle that has preceded it. In his poem "The Second Coming," the birth of Christ begins one cycle, which ends, as the poem ends, with a "rough beast," mysterious and menacing, who "slouches towards Bethlehem to be born." Yeats's theory of the historical cycle is directly related to his belief in a universal duality -- the existence of opposite but equal forces that dominate a cycle alternately. This view is in accordance with the occult traditions which teach that the First Cause exhibits periodically different aspects of itself. Yeats believed that kingdoms rise movement of history is an hour within the day of a large movement, and that all these cycles are caught within one all-inclusive "Great Year" which has a cosmic purpose. The Kabbalah says the alternation between judgement and mercy must be on equal terms. The germ finally goes back to its root principle, the Unity out of which everything proceeds.

예이츠는 일생에 걸쳐 그의 문학과 그의 신비주의적 관심을 함께 연결시키려고 노력해왔으며 이는 사후의 세계와 우주의 섭리, 천국과 지옥의 실체 등 인간이 인식하지 못하는 것들에 대한 지적 호기심이며 창조적 탐구의 과정이었다. 이런 신비한 것에 대한 관심의 직접적인 접촉은 물론 블레이크적인 접근이었지만 그 뿌리를 거슬러 올라가면 크게 몇 가지로 분류되는데 이는 철학적 접근, 밀교적 접근, 아일랜드의 신화전설, 낭만주의적 접근, 신학적 접근, 그리고 이 논문에서 언급된 고대 기독교적 접근 등이 그것이다. 기독교적 접근이라고 분류되는 것은 성경에 기초한 교조적인 해석이 아니라 어느 정도 신비주의적으로 기독교의 전통에 따라 보이지 않는 것들, 즉 사후의 영적 경험과 천국과 지옥의 존재의 증명 시도를 의미한다. 예이츠의 기독교 신비주의에 영향을 끼친 두 신학자는 스웨덴보리와 보엠이 있다. 예이츠는 스웨덴보리로부터 주로 사후의 세계에 대해 영향을 받고 있다. 비록 스웨덴보리가 기독교의 교리에서 벗어나지 못했다는 약점에도 불구하고 사후세계의 존재인식과 인간과 신, 혹은 우주가 통신한다는 개념들은 예이츠의 인간영혼의 불멸성과 거대기억의 이론에 직접적인 근거가 된다. 그의 중심사상은 자연계와 영계의 통신이며 이는 우주와 개인, 신과 인간, 사후의 세계와 현세, 귀신과 사람간의 연결이며 합일이다. 영적인 세계는 천당이나 지옥이 아니라 그 중간의 세계이며 죽은 영혼들이 윤회로 다시 태어나거나, 혹은 최종의 목적지에 도달하기 전 잠시 머무는 임시영역이다. 예이츠는 이 영역에서 아니마 문디가 정화되고 거대기억이 형성된다고 보았다. 따라서 이 영적인 세계에서는 우주와 인간의 영혼이 서로 통신하며 실제로 교류할 수 있다는 것이다. 보엠은 좀 더 인간에 관심을 가지고 있다. 그의 인간과 신의 합일사상이 블레이크의 신성인간이며 예이츠의 황금새벽의 이상형이다. 우주의 질서와 조화를 강조한 보엠은 예이츠에게 시적 상상력이 신성과 같은 단계이며 시인은 마치 영매처럼 우주와 영혼, 즉 인간의 세계와 신의 세계를 볼 수 있는 능력을 가진 견자(seer)이며 연결할 수 있는 통신자(correspondences)라는 것을 말해주고 있다.

Recently, the term of spirituality is drawing people’s special attention, in particular, in Christianity. However, for the diverse or multi-meanings of spirituality, it is neither easy to define it clearly, nor to use it suitably. In this paper, I try to approach this theme focusing on the history of Christian mysticism, in particular, Protestant one. In general, the mainstreams in Church history have tended to know God in academic ways. But, one can find that there have been other ways to approach God, which has been known as mysticism. While there is a strong tendency to identify mysticism with superstition in Korea, mysticism has a long history in Christianity, seeking a spiritual union with God. During the Middle Age, monasteries were the center of mysticism. However, in the case of Protestantism, where monasticism could not find its place, such a tradition persistently has appeared in a variety of forms and ways. During the Reformation, the Reformers focused their attentions on the doctrine of justification by faith, while Anabaptists had more concern about the mystical and moral aspects of Christian life. In the 17th century, however, Pietism and Puritanism began to appear paying more attention to the changed life of Christians. As a result, regeneration and sanctification became popularized along with, or even instead of justification. During the 18th century, spiritual experience became a central concern for many evangelicals in the American colonies as well as the Great Britain. The pivotal figures during the First Great Awakening preached a series of sermons on regeneration or conversion. They emphasized the significance of spiritual experience by revivals which led believers to the higher state of piety, that is, sanctification or holiness. Such a trend persisted during the nineteenth century. A variety of holiness movements sought to have the experience of entire sanctification by the Baptism of the Holy Spirit. In the case of Charles G. Finney, however, he attempted to synthesize both personal holiness and social reform in his controversial revivals. The twentieth century opened its door with the appearance of Pentecostalism. This radical version of holiness movement shaped its theological and spiritual identity by placing its primary emphasis upon the doctrine of speaking in tongue as the physical sign of the Baptism of the Holy Spirit. By this new movement, the Holy Spirit became more popularized, and the Charismatic experiences became one of the most serious concerns of modern Christians regardless of their denominational differences. Currently, the so-called “Emerging Church” is drawing a more fresh and attractive attention from many Christians, which tries to apply the ancient types of spirituality to the postmodern atmosphere. Likewise, the Protestant spirituality has been trying to find or construct its path in a variety of ways. Such a sacred struggling is still going on.

In the 1926 Clark Lectures at Cambridge, T. S. Eliot redrew the map of metaphysical poetry in the Western literature by including not just the Metaphysical poets of the 17th century England but Lucretius, Dante, and Baudelaire among many others. In the Lectures, published posthumously in 1993 under the title of The Varieties of Metaphysical Poetry, Eliot also revaluated the metaphysical poems of Dante and Donne in terms of their socio-cultural, philosophical, and religious background. Especially, Christian mysticism was, Eliot insisted, one of the most important factors in understanding these great poets’ works accurately. According to Eliot’s somewhat idiosyncratic genealogy of Christian mysticism, it could be basically divided into two streams: ontological-classical and psychological- romantic. A fundamental tenet of ontological-classical mysticism is that God is transcendental and the vision of God can “only be attained by a process in which the analytic intellect took apart.” By contrast, God, for psychological-romantic mystics, is immanent and a human being has an innate capability to perceive and recognize God-head intuitively and to be united with it, whether momentarily or not.Ontological-classical mysticism, whose origin Eliot attributed to Aristotle’s metaphysics, was developed by such theologians as Richard of St. Victor and Thomas Aquinas, and culminated in Dante’s poetry aesthetically. Notably, for Eliot, Dante was not merely a religious poet faithful to his own mysticism but, far more importantly, the paradigmatic figure of what Eliot famously called “united sensibility.” Inextricably combined with Eliot’s enthusiastic support of both Dante’s mysticism and his poetic achievement is his radical revision of the aesthetics of united sensibility; in addition to union of thought and feeling, order, system, and harmony, as championed by classicism, toward which he increasingly inclined, become essential parts of united sensibility. In contrast to Dante, Donne, once eulogized as a representative poet of united sensibility by Eliot himself, was degraded into a precursor of “dissociation of sensibility.” Behind this dissociation, Eliot claimed. lay Donne’s embracement of psychological-romantic mysticism, originated from Plotinus and fully developed by Eckhardt, Ignatius, Theresa and St. John of the Cross. By reading closely Donne’s “The Extasie” and examining its dualistic view of soul and body, Eliot exemplified how the poet’s disintegrated sensibility is merged with his psychological mysticism.