Vol. 13 (2000) 147-177 DOI: http://dx.doi.org/10.14354/yjk.2000.13.147.. (James Joyce)... (Feminine Principle) (Christian Gnosticism) (Sophia).,. ( O but we dreamed to mend / Whatever mischief seemed / To afflict mankind, CP 235). (Occultism).
(Unity of Being) (Daimon). (Jeffares ed. 65) (Imagination). (Muse). (Graves). (Graves 490). (Muse-poet) (Masculine Trinity) (Androgynous Trinity)... (Graves 157). (Cabalism).. (W. Blake) (Bloom) (Valentinian, Bloom ed. 8). (Rose). (Helen), (Countess Cathleen), (Niamh), (Jane) (Troy). (A Vision) 2000. ( The Second Coming ) 2000
... 1.., (Niamh) (Deirdre), (Maeve),. ( Eternal beauty CP 35)... (Daughter-Sophia)... (Betti 91). (World) (Peace) (Battle) (Secret)... (Zeus)
.. -.. (Silver Echtge) (Tir-na-n-Og).,,.. ( The Sorrow of Love ). (George Russell) (Rosicrucianism) (Golden Dawn). (Mathers). (The Wandering of Oisin)(1889) (Oisin)... (St. Patrick). (Daimonic man)..
.. (Cybele) (Attis). ( The Cap and Bells ) (Jester).. (Eliot).. (Eliot 103). - -. ( Leda and the Swan ) (A Vision) 2000 2000. 2000. 1200
.. ( Leda and The Swan ) 2000 -.. - (Troy-Gnostic) 2000.. ( The Second Coming ) 2000.
(A Vision) 2000 2000 20. 20. (Bloom Yeats 322).... ( Terrible beauty is born CP 203). ( half lion, half child CP 104) ( The lion and the virgin CP 367). (Osiris), (Isis), (Horus).. (Rosicrucianism). (Rosicrucian) -.. (Rudolf Steiner). (The Search for the New Isis)
. -.. ( The Second Coming ) -.. 2000. ( The Mother of God ) /. ( The terror of all terrors that I bore / The Heavens in my womb. CP 281) ( A Nativity )? ( Why is the Woman terror-struck? CP 387).... 2000.
. (A Vision) ( The Second Coming ) 13. ( Supernatural Songs ) XII (CP 331). - ( The Second Coming ).. (Bloom, Yeats 280).. VIII.. ( Eternity is passion, girl or boy / Cry at the onset of their sexual joy (CP 332). 2000 (A Vision) 13.. 2000.
Homer. - 2000.. /. ( A woman Homer sung, / That life and letters seem / But an heroic dream. CP 100). - 2000 - (CP 41-2). 2000 (hero s wage). ( Rose Tree )..
2000 (CP 524) - ( Being for a woman sake CP 103). 2000. 2000.. 2000 2 ( No Second Troy )(CP 101). (A Vision),. (A Vision 262)...
,....
.?... -. - (Alexandria) (Celt)
. (Immortal Beauty). (Masculine Principle).. 2000 21 /. ( The innocent and the beautiful / Have no enemy but time. CP 264).. -.
.. (Valentinus).. (Shelley).... (Caesar) (Cleopatra). (Jeffares).
(Jeffares 23) ( tragic joy ).... ( Meru )..
.. ( In triumph of intellect CP 193).. /. ( Yet little peace he had, / For those that love are sad. CP 193)... (E & I 522). (Lady Gregory). (E & I 522)... The man has no comfort in the grave. (CP 50). ( The Cap and Bells ).... ( A Dream of death ), ( The Countess
Cathleen In Paradise ),. ( He wishes his Beloved were Dead ) -. 2. -.. (marvellous thing). (The Bible promised us, CP 257). -. 13
... ( A ghost-lover he was CP 258).. ( Vacillation ).. 2000.
... ( Must we part, Von Hugel, though much alike ).. ( wild old wicked man who travels where God wills. CP 356). -.
. ( Three songs to the One Burden CP 371) ( Three Marching songs CP 377). ( Three Marching songs ).. 2000. ( Three Songs to the Same Tune, CP 320). (three). (Graves 384). (Brigit).
,,.,,,. (CP 139).,, (Mrs. Olivia Shakespear)... ( Long-Legged Fly ).
.. -. -.. -... - 2000.
2000.. -... (Baring 655).
....... (A Vision) 2000.
.... 1200. 2000..... -. ( The Second Coming ).. -
(a dancer).. (A Vision) 2000 2000. ( Leda and The Swan ), ( A Nativity ), ( The Mother of God ) 2000. 20 ( The Second Coming ). Sphinx 2000 13.. 2000, ( Ah, but peace that comes at length, / Came when time had touched her form. CP 103).... (Aleel)... 2000
(Raine 86). Baring, Anne and Cashford, Jules. The Myth of the Goddess : Evolution of an Image. London : Penguin Books Ltd., 1991. Bloom, Harold. Yeats. New York: Oxford University Press, 1970. Bloom, Harold ed., Modern Critical Views: William Butler Yeats. New York: Chelsea house Publishers, 1986. Betti, Mario. The Sophia Mystery in Our Time : The Birth of Imagination. London: Temple Lodge, 1994. Cullingford, Elizabeth Butler. Gender and History in Yeats s Love Poetry. New York: Syracuse University Press, 1996. Graves, Robert. The White Goddess: A Historical Grammar of Poetic Myth.. New York: The Noonday Press, 1989. Jeffares Norman ed. Yeats: selected Criticism and Prose. London: Macmillan and Pan Book. 1980. Eliot, T. S. The Poetry of W. B. Yeats. New York: Thomas Parkinson. 1963. Raine, Kathleen. Yeats the Initiate: Essay on Certain themes in the Work of W. B. Yeats. Maryland: Barnes & Noble Books, 1990. Yeats. W. B. The Collected Poems of W. B. Yeats.(1865-1895). London: Macmillan, 1976. (Cited as CP). Essays and Introductions. London: Macmillan, 1973. (Cited as E & I). A Vision. London: Macmillan, 1973. (Cited as A Vision)
Abstract Mina, Cho (Chungam National University) Yeats presented the fallen majesty of Sophia who is a veiled goddess as in Valentinian of Christian Gnosticism, Cabalism and Rosicrucianism. In this respect, Yeats himself rejected the masculine Trinity and insisted on an androgynous Trinity throughout his works. Yeats s view of Sophia is that of Attis for goddess Cybele. Yeats sought to reveal that Daughter-Sophia was a fallen Deity such as Helen of Troy or Cinderella and Sleeping Beauty of the fairy tale. Therefore one of Yeats s major poetic themes is the longing for Sophia. From his early poems, Helen is symbolized as Sophia s secular image and as one of the Yeats s personal poetic heroines. Yeats wanted Helen, the cause of Troy s fall, compared to Sophia who was the cause of the Christian s fall for early Christian Gnostics. Also, several of Yeats s poetic heroins can be approached in terms of Sophia s secular and mournful beauty who is suffering with mankind in this world. Especially, Yeats as a master myth-maker himself recreated Helen as his personal unique mythic character in Sophia s image. For Yeats, Maud Gonne s poetic role was the embodiment of Ireland as Rose, Helen, Cathleen, Deirdre, Niamh and Jane. These figures are all symbolized as a divine Feminine Principle existing within the God, Masculine Principle before the all creation. And Yeats lays himself and the world at her feet as the love poet or her sole priest just as did Attis for Cybele. Yeats s personal and poetic heros as symbols of Yeats s portraits: Attis, Homer, Jester, Oisin, Red Hanrahan, Fergus, Cuchulain, and Aleel. Through Sophia s imagery, Yeats suggested gnostic speculations about the female elements of divinity, rigorously suppressed by the orthodox Christian fathers of the early church, and this rejection remains to this day. In other words, Yeats tried to carry out a poetic recovery of one single body work of art from the veiled
goddess, Sophia. Because Yeats wanted to become Sophia s sole priest, Valentinian. His hope appears in his poetic theme of a Unity of Being by uniting with Sophia after his own death and Sophia s death too. In this sense, Yeats often illustrated in his poems sorrowful love and an eagerness for the death of the beloved. This idea and sentiment is seen in Aleel s attempted unity with Cathleen: Aleel suggests Countess Cathleen who is suffering with her people go to Heaven to escape her pains. Although people mocked Yeats s attitude regarding Sophia, he envisioned a heroic dream in which Sophia will be revealed with her Heavenly power in a future as her era comes. And at last, she will recover her genuine glory in Heaven. Sophia s era will come 2000 years after Christ s birth according to Yeats s unique historical view. For example, Leda and the Swan and A Nativity symbolize the coming of the masculine Trinity era with in the Orthodox Church. So Yeats stated when the Christ or Helen or Christ s sister (Daughter-Sophia) was born, the Mother of God, Mary or Leda was frightened and terror-struck. Therefore Helen symbolized secular beauty suffering with mankind during the 2000 years of the masculine Trinity age. On the other hand, in The Second Coming, Yeats suggested that Sophia s veil be removed when she recovers her glory. The terrible Sphinx stands for this coming of Sophia, which will establish an androgynous Trinity just as seen in the Egyptian Trinity: Osiris, Isis and Horus. Sophia as Yeats s beloved is also symbolized by the Sphinx, half lion, half child in Against Unworthy Praise. Thus we see Yeats endeavoring to draw the readers attention to the stress laid by feminine principle, Helen-Sophia who is with mankind as Countess Cathleen -with sacrificial love and her suffering under the masculine Trinity- until the new age comes, which was stated as until coming sphinx or until God burn time. So Yeats was an authentic prophet in our time.