본 논문의 목적은 예이츠의 󰡔미친 제인이 주교와 얘기하다󰡕, 󰡔아일랜드 비행사가 자신의 죽음을 예견하다󰡕, 사람과 메아리󰡕를 독해하며 이원론(二元論)에 관한 시인의 견해를 살펴보는 것이다. 본문에서 다루는 이원론의 대립 쌍은 영혼과 육신, 삶과 죽음, 그리고 앞선 두 대립 쌍의 총체인 영적인 삶과 육체적 삶이다. 이러한 맥락에서 앞서 언급된 세 편의 작품은 예이츠의 변증법적 사유에 대한 문학적 재현으로 볼 수 있다. 시인은 1) 급진적 일원론, 2) 스토아적 균형, 그리고 3) 회의주의적 방법론에 기반하여 대립 항들의 근원적 통일성을 확인하고, 이로써 당면한 이원론의 문제를 파훼한다. 본 논문은 이러한 과정이 어떻게 행(行)과 연(聯), 신택스, 운율, 그리고 시어(詩語) 등의 시적 요소가 역동적으로 상호작용함으로써 구체화되는지 분석한다.

Yeats and Pound were the two central poets of the 20th century, dominating the modernist poetry in the first half and second half of the century. Pound began as Yeats's "student" reading the older poet's The Wind among the Reeds. When the apprenticeship with Yeats at Stone Cottage was over, Pound served as patron to almost all the major poets and writers, and some painters. Unlike the mythology of the last 50 years, in matters of poetic influence between them, Pound seems to have got more than he gave to Yeats. For instance, Pound could not find the value of the new poetic form emerging in Yeats's "Adam's Curse" which is alongside "Red Hanrahan's Song about Ireland." It is because he admired the early Yeats so much. It is not until Pound was bored by the shadows and dreams in his own poetry that he began to see "Adam's Curse," "No Second Troy," "Reconciliation." Before Pound did anything, Yeats had already undegone some transformation in his poetry. Then, why Pound had been so immersed in the early Yeats? Yeats had been a complex personality, capable of making use of what had seemed impossible as material for poetry: magic and mysticism, arts, folkore, Romantic poetics in his earlier career and politics, Noh drama, philosophy. At the last moment Yeats and Pound emerge as different poets; the older poet neither commits himself to his world nor alienates himself from it: he contemplates it as detached artist. Pound, on the other hand, chooses to be in utter solitude, with his memories of Stone Cottage sustaining him.