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.

이 논문은 공간의 관점에서 W. B. 예이츠가 묘사한 쿨 장원과 일곱 숲 그리고 T. S. 엘리엇이 명상한 번트 노턴과 장미원을 고찰함으로써 두 시인을 비교하는 것이다. 조명한 작품들은 예이츠의『환영의 바다 』(1906)의 서시 (1900)와 일곱 숲에서 (1902) 및 쿨 호수의 야생 백조 (1919) 그리고 엘리엇의 장시『네 사중주』(1943)의 첫 번째 사중주인 번트 노턴 (1935)이다. 천국 같은 쿨 장원과 낙원 같은 번트 노턴은 에덴동산에 비유될 정도로 아주 흡사하다. 예이츠가 여러 차례 체류한 그레고리 여사의 쿨 장원은 그의 평생의 시신인 모드 곤과 이루지 못한 결혼으로 고통 받던 그의 마음의 치유 공간이었다. 한편, 엘리엇이 첫 연인 에밀리와 함께 방문한 번트 노턴 역시 그의 첫 번째 아내 비비엔과의 별거로 괴로워하던 그의 마음의 치유 장소였다. 예이츠는 숲과 백조의 상징성을 통해 일곱 숲과 쿨 호수를 포함한 쿨 장원을 사실주의화가 및 낭만주의와 상징주의 시인의 기교로 섬세하게 묘사하고 있고, 엘리엇은 장미의 상징성과 시간에 대한 철학적 명상으로 장미원과 풀장이 있는 번트 노턴을 입체파 화가 및 철학 시인과 모더니즘 시인의 눈으로 신비적으로 묘파하고 있다.