Eavan Boland finds her poetic identity in the significances of her birthplace of Ireland and her gender of an Irish woman. with this identity she shows a keen awareness of the fundamental sense of poetic ethics - to de-and re-construct the traditional literary frame imposed by male points of view, witnessing to the truths and facts of Irish women's experiences in the history of Ireland. In the broad sense of the Irish matter, Boland concerns with the artistic image and its relationship to the facts of women's lives in Ireland and she tries to find the poetic place of women in pointing the loss of women in Irish history and literary tradition. In this aspect Boland tries to find the proper images to suggest the true identity of women just in history not outside of history. So her dependence on the power of language and on the objective attitudes to the common lives and trivial things of women's lives is the proof for her poetic ethics. Some poems of Boland's blast the muse who helps men to write women as a queen to Ireland as a mother to the children and husband. Instead she urges the muse to keep her place beside women poets in creating the homely images. In creating the true images of women the common is present and she suggests the woman's potentiality as a subject and a viewer and as a mother and a poet. So Boland destabilizes the images of woman as a grand mythic queen and as an abstract composite of femininity. In this process Boland keeps her tone cold and cool even in showing her powerful views on the female identity. She achieves this attitude through 'looking' and 'watching.' She suggests to look into the mirror towards the general readers as well as poets herself even in her rage to the Irish literary tradition. So she keeps her own characteristic voices in finding and reintroducing the perspectives that run counter to the traditional Irish male views on woman and history.

William Butler Yeats was born at Georgeville, Sandymount Avenue, Dublin, in 1865, and died in the South of France, in January 28, 1939. Yeats was fifty in 1915-1916. He provides a poetic rendering of his visionary experience at his fiftieth year in the fourth section of "Vacillation" written in November 1931, when he became absorbed in the philosophical thinking while writing A Vision: "My fiftieth year had come and gone,/ I sat, a solitary man,/ In a crowded London shop,/ An open book and empty cup/ On the marble table-top./ While on the shop and street I gazed/ My body of a sudden blazed;/ And twenty minutes more or less/ It seemed, so great my happiness,/ That I was blessed and could bless."(CPN 251). In May 9, 1917, recalling his fiftieth year, Yeats describes this experience in a prose, entitled "Anima Mundi": "Perhaps I am sitting in some crowded restaurant, the open book beside me, or closed, my excitement having overbrimmed the page. I look at the strangers near as if I had known them all my life, and it seems strange that I cannot speak to them: everything fills me with affection, I have no longer any fears of any needs; I do not even remember that this happy mood must come to an end. It seems as if the vehicle had suddenly grown pure and far extended and so luminous that the images from Anima Mundi, embodied there and drunk with that sweetness, would, like a country drunkard who has thrown a wisp into his own thatch, burn up time." (Myth 364-5) Seamus Heaney was born in April 13, 1939 in Count Derry, Northern Ireland, and has been attacking Yeats since 1980s for the latter's aristocratic mysticism and spiritual matters. Heaney gave a lecture at Oxford University in 1990, entitled "Joy or Night: Last Things in the Poetry of W. B. Yeats and Philip Larkin." This lecture was given at the end of his own fiftieth year and simultaneously commemorated the fiftieth anniversary of Yeats's death. In this lecture, Heaney comes to open up "a sudden comprehension" to Yeats's vacillating visionary experience of the spirit in "The Cold Heaven": "The spirit's vulnerability, the mind's awe at the infinite spaces and its bewilderment at the implacable inquisition which they representall of this is simultaneously present" (The Redress of Poetry 148). In "Fostering," a poem from Seeing Things (1991), Heaney professes his poetic admission of Yeatsian visionary position: "Me waiting until I was nearly fifty/ To credit marvels" (50). In short, Heaney reaches what Yeats did for the spiritual world. The main objective of this paper is to demonstrate how Heaney reacts Yeats's poetry of vision. My focus is on the year fifty, when they erupt their creative energy in terms of "vacillation"which nevertheless shows the provocative and violent dynamism of the Yeatsian "interlocking gyres."