이 연구는 예이츠의 작품 󰡔환상록󰡕을 중심으로 역사 순환 원리와 헬렌 신화를 분석하였다. 예이츠에 따르면, 인류 역사는 4,000년을 주기로 교차되며, 그리스와 기독교 문명은 각각 2,000년의 주기를 겪어왔다. 그리스 문명은 헬렌의 탄생, 트로이 전쟁, 그리고 헬렌의 귀환과 함께 전환점을 맞이했고, 기독교 문명은 예수 그리스도의 탄생으로 시작되어 현재까지 찬란하게 발전해 왔다. 예이츠는 마이클 로발츠가 레다의 잃어버린 알을 찾는 신화를 통해 다가올 새로운 문명을 비관적 종말론과 두려움으로 묘사한다. 이 글은 예이츠의 역사 철학을 살펴보며, 그가 예지력과 통찰력을 바탕으로 가이어의 회전과 순환을 적용하여 인간과 문명의 과거, 현재, 미래를 칸트의 이율배반적 변증론으로 재해석한 내용을 다룬다.

The Chinese characters is a letter that is with the most primitive features and is even a dull letter since it took 5000 years to the advent of text hand we are using right now. If we think about Hangul: Korean alphabet which is a scientific letter was made in a generation, dullness of the Chinese characters can even more be highlighted. However, it is this dullness and the honest effectiveness that give the Chinese characters power since it accumulates cultural meanings, especially the meaning of literature, history, and philosophy through concrete shapes and historical precipitations of long time. This study tries to attract the aspects of literature, history, and philosophy inherent in the Chinese characters and to devise a new way to learn Chinese characters that can suggest a humanistic vision. This can simply be summarized as follows. First, the author identified the advantages and disadvantages of existing books with regard to the education of Chinese characters. While books focusing on grades are useful in learning Chinese characters in a short period of time, they can easily neglect the cultural values. On the other hand, while books focusing on cultural aspects let people learn the cultural values based on rich expertise, they are not useful in learning the characters and lack perspective to creatively inherit and develop culture through Chinese characters. Second, the author found out that we need humanistic perspective to avoid disadvantages and encourage advantages. In other words, humanities can converge various cultures focusing on human and can be a foundation to create new culture. And the humanistic elements in the Chinese characters (literature, history, and philosophy) can lead to a more intensified learning. Third, the author investigated principles and ways to draw the elements of literature, history, and philosophy in the characters. Radicals that take the major part of the Chinese characters are like the archetype that determined the language and imagination of people since they are the embodiment of objects closely related to human life. Chinese characters are not only the mean to record history, but also the historical event and fruit encapsulating the perception on the past affairs. Chinese characters show us the world view and the thinking system of ancient people in the East in their composition principles or operational principles. Finally, the author suggested an education method using literature, history, and philosophy focusing on the word '人': human. In a historical perspective, it is highly likely that the word is the embodiment of a person who works while bending his waste forward. And in a literary point of view, there are two poems included as an example that show a deep reflection on human existence. In a philosophical view, the author suggested his view concerning the definition on human. And for the convenience to learn Chinese characters, the author emphasized that the Chinese characters are the essential elements to understand the concepts of Korean by specifying important Chinese characters in the description with regard to literature, history, and philosophy. After that, Chinese characters associated with the word '人' were presented. In conclusion, the purpose of this study that explored ways to configure textbooks for Chinese characters using literature, history, and philosophy is to find out cultural values hidden in Chinese characters and to couple them in to the education of humanities required by the era. While this cannot be a methodology with a clear and specific framework, this can be flexibly used depending on the diversity of majors of teachers and the understanding of learners.

예이츠는 인류의 역사를 주관적과 객관적으로 나누고 이 두 성격의 문명이 순환한다고 생각했다.『캘버리』는 객관성의 상징인 그리스도가 주관성 시대의 잔존 인물인 라자로, 유다와 갈등을 겪는 것을 극화했다. 라자로의 항의, 유다의 배신, 로마 군사들의 무관심을 통해 이 극은 그리스도의 사랑이 모든 사람을 구원하는 것은 아니고 기독교 세계 보다 큰 역사의 질서가 있다는 예이츠의 역사관을 보여준다. 예이츠는 관객에게 익숙한 기독교 신화를 변형시킴으로써 신빙성이 떨어지는 위험을 막기 위해 '꿈으로 다시 살기', 가면, 운문대사, 춤, 음악 등 극적 장치를 마련하여 현실과 동떨어진 느낌을 갖도록 하고 관객들이 '마음 속 깊은 곳'으로 들어가도록 유도하려고 했다. 기독교 신화라는 익숙한 주제를 다루는 것이 무리이고 너무 추상화되어 그의 역사이론을 모르면 이해하기 어려운 단점이 지적되고 있지만 기독교 신화를 다른 차원에서 볼 수 있는 발상의 전환과 상상력, 운문의 아름다움이 돋보인다.