마틴 맥도나의 󰡔필로우맨󰡕은 고통과 도덕적 모호함으로 점철된 세상에서 예술과 이야기의 힘이 가진 가능성에 대한 성찰을 담고 있다. 본 논문은 등장인물이 자신의 이야기를 통해 지배권을 주장하고 타인에게 영향을 미치는 과정을 통해 실존적 진실에 맞서려는 노력을 프리드리히 니체의 사상과 연결하여 분석한다. 결론적으로 본 논문은 이 극이 스토리텔링, 도덕성, 인간의 고통에 대한 재현을 통해 니체의 주제를 다루며 관객이 가치 창조의 복잡성과 삶에 대한 이해를 형성하는 예술의 역할에 직면하도록 하며 해답과 단순한 도덕적 진리를 거부하는 세상에서 예술가이자 새로운 가치의 창조자로서 우버멘쉬의 잠재력과 한계에 대한 성찰의 기회를 제공하고 있음을 주장한다.

This paper aims to study Yeats and Nietzsche through Nietzsche’s “Will to Power” in some of Yeats’s poems. In 1902, Yeats first read Nietzsche’s works; through Nietzsche Yeats’s voice turned into a manly voice. An internal conflict appears as a Mask theory in Yeats's poetry. Self and Anti-self (Mask) are two components in the Mask theory. While Will is an internal and subjective self, Mask is a social and objective self. The internal conflicts between Will and Mask determine the human mind. Yeats’s “Mask” and “Ego Dominus Tuus” exemplify Will to Power as an internal conflict. Nietzsche’s Will to Power is a concept of quantity based upon the law of energy preservation refusing causality, the movement ascending and descending and the eternal recurrence of the same. Similarly, Yeat in his A Vision has rewritten a European history based upon the theory of opposite forces in a gyre. He classifies personalities into 28 types based one phases of the moon. Assigned to Phase 12, the phase of heroic man who overcomes himself, Nietzsche is a forerunner; who is fragmentary, violent, and subjective. Perspectivism, a kind of Will to Power, is a plural and relative point of view that is classified into 4 categories; Will to Power as knowledge ("Leda and the Swan"), art ("Ego Dominus Tuus"), love ("Crazy Jane Grown Old Looks at the Dancers"), and truth ("Demon and Beast"). In conclusion, Yeats’s later poems achieve a creative and powerful voice when he thinks and speaks with Nietzsche; in particular, Nietzsche’s Will to Power, a philosophy of Being and Becoming, is echoed in some of Yeats’s later poems.