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신현호 남서울대학교 인문사회과학연구센터 2003 인문사회연구 Vol.5 No.-
Poets use symbols because they have realized that our common language is inaccurate in describing the inner reality. The symbols and the myth are used to expand our minds and give us a deeper meaning in life and belief. In A Vision, Yeats presents an elaborate symbolic pattern which he applies not only to history, but also to individual lives. His basic symbol is a pair of interpenetrating whirling cones or 'gyres' signifying the world of change that move within a sphere emblematic eternity. The gyres, with their points at the bases of each other, represent the oppositions and reciprocity of human existence; one expands as the other diminishes. The two gyres stand for two contrasting forces―the primary or objective and the antithetical or subjective. There is a state of perpetual conflict between the gyres. The gyres, according to Yeats, are 'living each other's death, dying each other's life. The sphere is the symbol of perfection, Unity of Being. These symbols of sphere and gyres are equivalent to another set of symbols, in which a circle or 'Great Wheel' is marked off into 'phase' that correspond to the waxing and waning of the moon. There are twenty eight such phases, with varying degrees of moonlight and darkness. They can be applied to human personality and to the incarnations of the soul. Whether expressed in terms of gyres or phases of the moon, Yeats's opposing principles are called the 'primary' and the 'antithetical'. The primary denoted by the moon's degree of darkness is a principle of relative passivity, of objectivity, rationalism, materialism, external morality, democratic equalitarianism, while the antithetical denoted by the moon's degree of darkness is a principle of activity, of subjectiveness, imagination, idealism, personal will, aristocratic distinction. The result of the mixture of these principles at any one phase must be measured in terms of 'Four Faculties', which usually are at odds with one another. 'Will' is the faculty that determines the phase of the individual. In other words, it is his basic character, what distinguishes him from others. 'Mask' is the image of what we dream of becoming or that other self to which we give our reverence. 'Will' and 'Mask' are the 'Is' and the 'Ought', while 'Creative Mind' is imaginative power and 'Body of Fate', the intellect and the environment. 'Will' and 'Mask' are contraries, as are 'Cerative Mind' and 'Body of Fate'. 'Will' and 'Creative Mind' are part of the conscious mind, whereas 'Mask' and 'Body of Fate' are part of the subconscious mind. Four Faculties influence one another. In the diagram of 'The Great Wheel', if one's 'Will' is at phase 17, his 'Mask' is at phase 3, his 'Creative Mind' at 13 and his 'Body of Fate' at 27. Every man goes through all the phases with the exception of the first and fifteenth, which do not appear in human life. Moreover every man belongs in general to a phase of human nature.
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신현호 천안대학교 2000 진리논단 Vol.5 No.4
This treatise is an attempt to study how Yeats expressed persuasively his personal imaginative historical view in his works. Yeats offered a picture of history that civilization of human race runs through cycles of two thousand-odd years, periods of growth, of maturity, and lastly, of decline. Each two thousand year period is dominated by a single civilization. In "Leda and the Swan" Yeats depicted in transforming a Greek myth the historical moment that proclaimed the beginning of human civilization. The supernatural event, the sexual relationship between Leda and Swan(Zeus) generates a Greek civilization on earth. The mechanism of time and history is indifferent to human will, and each great movement forward in history is stained with the 'brute blood' of terror. Just as "Leda and the Swan" deals with moment of transition from the Babylonian to the Greek civilization, the "Two Songs from a Play" deals with the moment of transition from the Greek to the Christian civilization. Mary's annunciation represents the first coming of a new civilization on earth. The Virgin tears the heart from the slain Dionysus, and she then utters her challenge to the older civilization. Thus for the last two thousand years society in Europe has been ordered and controlled by the Christian civilization which is now on the verge of total distintegration. In one of his central poems, "The Second Coming" Yeats depicts the coming of a new civilization in terms of his private vision. Yeats describes the chaos and cynicism of modern civilization and the haphazard brutality of contemporary culture. Our civilization has lost its power, for it can no longer hold society in an orderly structure. The poet declares that all this chaos, confusion and disintegration must surely be a sign that a revelation, a 'second coming' of the Messiah is at hand. Besides his cyclical view of history, Yeats often treats the relationship between history and art. In "The Statues" Yeats deals with the relationship between the process of history and art. He suggests that Greeksculptors made Europe when they shaped abstract thought into stone images of ideal perfection. Yeats emphasizies the distinct genius of Europe and contrasts it with the Asian brooding on formless infinity. And the final stanza in the poem, Yeats asswrted the Irish who were 'born into that ancient sect' will be the heir of Europe civilization, citing the Cuchulain statue of perfection. In Yeats's later poems, focusing upon the European civilization and culture, he expresses the challenging attitude toward modem Irish reality which neglects the Celtic tradition. Yeats regards modern Ireland lacking in moral fibre. So he celebrates the aristocratic and peasant spirit that the Irish have retained through many centuries. In "Under Ben Bulben," Yeats argues that Ireland's poets and artists must build up a new national culture and a magnificient literature based on the Irish myths and legends. The conclusion is that true art can shape life and that civilization can not be reborn except from creative joy. Yeats holds that true art must be aristocratic in spirit, yet rooted in the life of people. The true artists have delighted in traditional sanctity and loveliness below all that is individual, modern and restless. Art can afford us a positive respose to life in all its tragic aspects.
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