이 논문은 늙음에 대해서 쓴 예이츠의 시들을 연구한다. 지금까지 늙음 과 관련된 많은 시들의 논의가 있어왔지만, 이졸트 곤과 관련된 시들에 초점을 맞추는 일은 드물었다. 나이가 들어감에도 더욱 왕성해지는 열정 때문에, 늙음의 문제는 시인 에게 고통을 주기도 한다. 젊은 이졸트 곤을 사랑하기에는 너무 늙었다는 것을 깨달은 시인에게 나이듦은 큰 슬픔이었다. 이 논문은 노인이 된 시인이 노년의 문제를 어떻게 해결하는가를 연구한다. 노시인은 이졸트 곤의 아름다움에 찬사를 보내면서도 그의 나 이듦을 한탄한다. 그러나 그는 슬픔을 승화시켜 좀 더 고귀한 생각으로 전환한다. 즉, 노인은 젊은이보다 훨씬 지혜롭다고 생각하며, 이졸트 에게 부성애적인 충고를 한다. 시인은 늙음의 문제에서 벗어나는 또 하나의 방법으로 마스크를 이용한다. 마스크를 씀으로써 시인은 현실을 뛰어넘을 수 있는 고결한 꿈을 이룬다.

The paper searches and analyzes the image of Iseult Gonne in some of Yeats's poems. It is not difficult to locate Iseut's images in most of the poems that contain her image, except the poem, "Long-legged Fly." In this poem the young girl at puberty practicing a tinker shuffle picked up on a street is said to be Maud Gonne, as definitely noted by Jeffares. But this paper claims that she is Iseult Gonne on the basis of Yeats's recording what he has witnessed, the young girl barefoot dancing and singing, thinking that nobody is looking at the edge of the water and sand at Normandy. And one of the important poems that immortalizes Iseult is "To a Child Dancing in the Wind," singing what's permanent in the present Iseult, against the passing of life and time. This concern deeply permeates most of Yeats's Iseult poems, as one of them being "Two Years Later" and another is a poem, "Why Should Not Old Men Be Mad?" (written in 1936, three years before he died in 1939) in which the poet calls Iseult's husband a dunce, because Yeats loves and pities Iseult so much. To Yeats and in his poems, Iseult Gonne symbolizes eternal beauty or something that should remain for good. Not only that, but also the most beautiful and strongest of Iseult Gonne poems is "Owen Aherne and his Dancers" written immediately after Yeats's marriage to Georgie, with two sections, once the first being called "The Lover Speaks" and the second "The Heart Replies." As the image of dance indicates, it is about Iseult Gonne, with Yeats in disguise. It signals a new beginning for Yeats in relation to his poetry and to his life-long love Iseult.

The paper searches and analyzes the image of Iseult Gonne in some of Yeats's poems. It is not difficult to locate Iseut's images in most of the poems that contain her image, except the poem, "Long-legged Fly." In this poem the young girl at puberty practicing a tinker shuffle picked up on a street is said to be Maud Gonne, as definitely noted by Jeffares. But this paper claims that she is Iseult Gonne on the basis of Yeats's recording what he has witnessed, the young girl barefoot dancing and singing, thinking that nobody is looking at the edge of the water and sand at Normandy. And one of the important poems that immortalizes Iseult is "To a Child Dancing in the Wind," singing what's permanent in the present Iseult, against the passing of life and time. This concern deeply permeates most of Yeats's Iseult poems, as one of them being "Two Years Later" and another is a poem, "Why Should Not Old Men Be Mad?" (written in 1936, three years before he died in 1939) in which the poet calls Iseult's husband a dunce, because Yeats loves and pities Iseult so much. To Yeats and in his poems, Iseult Gonne symbolizes eternal beauty or something that should remain for good. Not only that, but also the most beautiful and strongest of Iseult Gonne poems is "Owen Aherne and his Dancers" written immediately after Yeats's marriage to Georgie, with two sections, once the first being called "The Lover Speaks" and the second "The Heart Replies." As the image of dance indicates, it is about Iseult Gonne, with Yeats in disguise. It signals a new beginning for Yeats in relation to his poetry and to his life-long love Iseult.