Earticle

예이츠는 힌두교과 불교적 종교와 철학의 양상의 맥락과 결부시켜서 아잔타석굴을 연구했는데, 이것은 예이츠의 아잔타석굴의 명상적 미술의 상징에 대한 비금욕적이고 비이원론적인 인식과 동양 무희의 상징성의 인식을 이해하는 데 필수적이다. 이 연구는 새로운 방식으로 그 무희가 구체화하는 동양의 존재의 통일을 예이츠가 어떻게 이해하는가를 이해하는데 도움이 되며, 이 개념은 『환상록 문서』와 『페르 아미카 실렌시아 루네』(1916년)과 보다 구체적으로 『환상록』(1937년)에서 깊이 탐구된다. 아잔타 석굴의 무희는 “포기의 문” 앞에 머물면서 찬양자들로 하여금 동양적이면서, 역시 보편적인, 존재의 통일을 명상하고 경험하게 유도하는데, 1920년대 중반까지 그것은 예이츠에게 “명상”적 “선” 행위가 된다. 이때 모든 것은 리듬을 통해서 유일심이 되는데, 이 동양의 무희는 그것을 가장 잘 표현하고 있다.

Yeats studied the Ajanta Caves art in the context of his parallel explorations into aspects of Hindu and Buddhist religion and philosophy, which is crucial to understand his later perception of the eastern dancer symbolism and his non-ascetic and non-dualistic perception of the mural symbolism of the Ajanta Caves meditative art. This study helps understand in a new way Yeats’s eastern-focused concept of Unity of Being which the dancer embodies, as explored in A Vision Papers and Per Amica Silentia Luna (1916), and even more explicitly, in his revised edition of A Vision (1937). The Ajanta Caves dancer resides before the “gate of abdication,” inviting any admirer of this art to meditate upon and experience an eastern-focused, but also universal, concept of Unity of Being, which has by the mid ’20s become for Yeats a “Zen” act of “contemplation” where all “becomes through rhythm one single act of the mind,” making the eastern dancer its most exemplary expression.

W. B. 예이츠의 『켈트의 여명』에 나타난 통합의 정신 탐구 우리말 요약: 『켈트의 여명』속에는 통합의 사상이 여러 가지 방법을 통하여 저변에 깔려 있다. 그것은 주로 황혼의 이미지, 범신론, 대기억을 통해서 나타나는데, 특히 황 혼의 이미지는 통합에 대한 주요한 역할을 담당하고 있으며, 물질적인 영역과 정신적 영역의 통합을 이루는데 크게 기여하고 있다. 그리고 범신론과 대기억 역시 일원론적 인 관점에서 통합의 사상과 연결되어 있다. 이 작품 속에는 예이츠의 대표적인 사상인 존재통합의 사상이 뿌리 깊게 그 근간을 이루고 있다.

The Unity of Being underlies The Celtic Twilight in various ways. It is expressed by the imagery of twilight, pantheism, the Great Memory. The imagery of twilight, playing an implicit role in revealing the thought, helps to join a physical realm to a spiritual realm; pantheism in this work becomes an important means to show the thought; the Great Memory in it is related with the Unity of Being, which pursues monism. The Celtic Twilight is firmly based on the Unity of Being, Yeats’s representative thought.

Since he edited William Blake’s poetry, Yeats had been deeply concerned with the questions of “contraries.” And Plato was also an important influence on his theory. Relying on Blake and Plato, Yeats had worked for a long time to make his own theory in his poetry and prose, and succeeded in the elaborate system as elucidated in his book, A Vision. “Among School Children” shows how Yeats has come to reach the ultimate reality, unity of being in the eighth and final stanza in it. Growing older, Yeats gets to contemplate life and death. Earlier in life, he has pursued the spiritual, but as he is older, approaching death, he is searching for something else, too. He realizes that we need both soul and body to overcome aging and death, and eventually, as evidenced in the dance and dancer metaphor of the poem, he is reaching the ultimate Reality through a unity of being－the harmonious union of body and soul. He realizes that “life is not a mere image.”

예이츠는 후기시에서 다양한 춤 이미지를 사용하여 현실에서 실재를 추구하였다. 이러한 실재의 추구과정은 1)무용수의 내면세계의 의식변화를 투영하고, 2)인간의 윤회를 제시하여 현재의 이 순간의 중요성을 강조하며, 3)가이어의 순환처럼 인간의 의식이 생성과 소멸하는 것을 제시했다. 이러한 실재의 추구과정에서 춤 이미지는 4)삶과 죽음, 무아경과 평정심의 경계를 구분하는 출입구의 역할을 하여 5)사중생과 생중사를 넘어서 궁극적 실재를 성취하도록 견인하는 상징적 이미지이었다. 그리고 춤 이미지는 인간의 삶의 모순이 비극적 환희로 해결되어 현재의 이 순간에서 궁극적 실재의 완성을 드러내는 상징이었다. 요컨대 예이츠는 무용수의 춤 이미지로 인간이 궁극적 실재를 완성할 수 있다는 방법을 제시했다. 그 결과 예이츠에게 있어서 춤은 자신의 삶과 연인이며, 시와 극작품이며, 시 쓰기와 상상력이었다.

Yeats used various dance images throughout his life. However, in the last poems, he especially sought after reality in the actual world. The pursuable courses of this reality reflect the consciousness transformation of dancer’s inner world, emphasize the importance of this moment in order to indicate the human’s cycle of reincarnation, and suggest that a man’s consciousness comes into being and becomes extinct, such as the gyre’s cycle. In that reality, the image of dance is a symbolic image to help accomplish the ultimate reality through death in life and life in death. In the end, Yeats suggests that a man accomplishes the ultimate reality through the image of dance. Therefore, a dance, for Yeats, is his own life and lovers, poetry and drama, the writing of poems and imagination.

예이츠는 음양의 조화를 방편으로 사용하여 존재의 통합에 도달하는 과정을 제시했다. 이러한 조화는 무용수가 긴장과 갈등의 단계를 거쳐서 육체와 정신이 융합되는 남녀의 성행위를 통해 양성이 하나로 통합되는 정점의 시점에서만이 성취되는 지복의 상태이다. 성행위를 상징하는 춤 이미지에서 1)화자는 무용수가 춤을 추는 꿈을 꾸고, 2)그 춤은 성행위를 하는 이미지로 재현되고, 3)무용수는 탑의 나선형 계단을 따라 선회하여 탑의 정상에 도달한다. 이러한 것은 4)조각상, 미인, 태양과 달의 결합과 같은 상징으로 시에 발현된다. 예이츠는 존재의 통합에 이르는 다양한 방법 중에서 이와 같이 성행위를 상징하는 춤 이미지를 사용하여 자신의 핵심사상에 도달하는 또 다른 과정을 제시했다. 이처럼 무용수가 춤을 추면서 육체와 정신이 하나로 통합된 상태는 불교에서 열반에 이르는 단계를 연상시켜주고 있다.

This paper discusses how Yeats attains the Unity of Being through the reconciliation of the yin and the yang. This reconciliation is an aspect of beatitude. Yeats depicts sexual intercourse of male and female as an image of dance which attains this state of beatitude. 1) The narrator watches his or her dream in which the dancers are dancing. 2) The dance represents the image of sexual intercourse. 3) The dancers reach the top of the tower whirling up the twisted circuit stairs. 4) The process is manifested in symbols in Yeats’s poems: a statue, a beautiful woman, and the integration of the sun and the moon. The condition for the dance to unite body and spirit through dancing with opposite sex is similar to Nibbāna that a hermit reaches through a thorough training in Buddhism.

예이츠의 춤 이미지는 ｢장미 연금술｣(Rosa Alchemica)에 등장한 화자의 다이몬과의 춤 이미지를 이해하면 보다 더 정확하게 이해할 수 있다. 예이츠의 춤은 1) 환상을 불러일으키는 상징, 2) 꿈을 꾸기, 3) 대립적인 마스크의 발견 4) 자신의 마스크를 착용하고 다이몬과 불멸의 춤을 추기, 5) 꿈에서 깨어나 현실로 되돌아오기와 같은 순환적 과정을 겪는다. 이러한 순환에서 무용수는 춤과 춤사위, 육체와 정신, 자아와 영혼을 하나로 통합하고, 탐욕, 성냄, 어리석음을 완전히 소멸시켜 불교의 열반의 과정과 같은 의식에 도달함으로써 마침내 ‘존재의 통합’을 이룩한다. 그래서 춤 이미지는 ‘존재의 통합’에 이르는 다양한 방법 중의 한 가지 과정이며, 이 과정이 바로 메루산의 산정에 도달하는 길과 유사하다.

This paper is an attempt to discuss Unity of Being in Yeats’s imagery of dance in his early works. Yeats’s imagery of dance can be understood more accurately as we perceive that “Rosa Alchemica”’ narrator performs an immortal dance with his Daimon. Yeats’s dance represents several different levels of recurring experience: 1) a symbol evoking a reverie, 2) having a dream, 3) finding an antithetical mask, 4) performing an immortal dance with Daimon in wearing one’s mask, 5) returning to the real world after waking from one’s reverie or dream. In this circulation, a dancer integrates dance and movement, body and spirit, self and soul into oneness, and wholly eradicating greed, anger, ignorance. At last she achieves Unity of Being by attaining consciousness like Buddhist Nirvana. In short, the imagery of dance is one of the various ways to achieve Unity of Being. And this becomes the very road to the top of Mt. Meru.

이 논문은 예이츠가 1920년에 출판한 『무용수를 위한 네 편의 드라마』(Four Plays for Dancers)에 실려 있는 네 편의 가면극을 분석하여 예이츠가 그의 연 극에서 무대와 등장인물, 연극의 주제 등에서 다양한 시도를 하고 있으며 그의 음악 적, 시적, 극적인 재능을 활용하여 아일랜드적인 주제와 신화적인 주제, 기독교적인 주 제 등 상반되거나 갈등을 하는 주제들이 통합적으로 나타나고 있다는 것을 보여주려 고 한다. 예이츠는 관객에 대해서도 그가 선택한 소수의 지적인 관객을 염두에 두고 드라마를 썼고 연출했으며 그의 선택적이며 배타적인 친구집단의 구성은 그의 연극에 독특한 영향을 끼치고 있다.

In 1920, when Yeats reaches his mature age as a writer and philosopher, he publishes four interesting plays under the title of Four Plays for Dancers. These four plays are written with new theatrical methods using music, dance, and mask. Yeats believes that the necessary elements for traditional performances should be minimized. He believes that insisting on traditional stages hampers the intimacy between players and audience. These mask plays cover themes from Irish myths to subjective loneliness of Jesus at his last moment. He tries to show his lifelong philosophy of the unity of being in these mask plays.

예이츠가 ｢1916년 부활절｣(“Easter 1916”)에 묘사한 부활절 민중봉기와 김남주가 오월시에 제시한 5·18민중항쟁은 국가의 독립에 대한 열망과 민주화에 대한 민중의 꿈이 외세의 압력에 굴복하지 않고 밖으로 분출된 진정한 민중의 항쟁이다. 부활절 민중봉기와 5·18민중항쟁은 서로 다른 문화와 정체성을 가진 민중이 자신들의 희망과 삶의 터전을 지키고 미래의 세대에게 자신들의 삶의 애환을 상속시키지 않고 종지부를 찍기 위하여 형제애의 정신으로 자신의 소중한 목숨을 희생하는 숭고한 영웅적 행위를 하여 결과적으로 국가의 독립을 성취하고 진정한 민주주의를 구현한 역사적인 사건이다. 이러한 민중은 바로 예이츠의 ‘존재의 통합’을 구현한 사람들이며, 참다운 ‘귀족’이다.

This paper discusses W. B. Yeats’s “Easter 1916” about the Easter Rising in Ireland and Kim, Nam Joo’s “May” Poems about the 5·18 General Public’s Resistance and Struggle in Korea. The Easter Rising and the 5·18 General People’s Resistance and Struggle were true common people’s strife that rose longing for the independence of their nation or for democratization without yielding to pressures of foreign power. They were the historical events: the general public of Ireland and Korea with different culture and identity sacrificed their life in the spirit of brotherhood so as to take care of their hope in their lands, not inheriting for the future generation their sorrows of life. As a result, they accomplished the independence of their country and established genuine democracy in their country. They are beings, who have truthfully embodied Yeat's Unity of Being, and they are the embodiments of Yeats’s “aristocrats.”

예이츠의 후기 작품은 󰡔비전󰡕에 제시된 가이어의 원리측면에서 볼 때 보다 더 정확하게 이해될 수 있다. 가이어는 4가지 능력들인 ‘의지’, ‘마스크’, ‘창조적 정신’, ‘운명체’로 구성되어 대립과 갈등을 일으키면서 1상에서부터 28상까지 순환을 한다. 이러한 순환에서 의식은 2번의 통합을 성취하는데, ‘대립적’ 상에서는 ‘존재의 통합’을, ‘기본적’상에서는 ‘신과의 통합’과 ‘자연과 통합’을 성취한다. 예이츠의 ‘존재의 통합’은 ‘대립적’ 상에서 비극적 삶을 있는 그대로 수용할 때에 비극적 환희에 도달하는 지혜를 얻어 그 결과로 성취된다.

This paper discusses Yeats’s the ‘Unity of Being’ and Symbolic Continuity in New Poems. The Gyres consist of Four Faculties such as Will, Mask, Creative Mind, Body of Fate, and circulate from phase 1 to phase 28 through opposition and conflict. In this cycle synthesis is accomplished twice; in antithesis phase the ‘Unity of Being’ is accomplished and in primary phase the Unity with God and the Unity with nature are made. If we accept tragic life as things are, Yeats’s ‘Unity of Being’ is achieved as a result of one’s wisdom to come to tragic joy.

Yeats published the first edition of A Vision in 1925 and the revised edition in 1937. He had poured the most intense concentration of his intellect into it for 20 years. It may be regarded as the greatest of Yeats’s works, containing some of the most penetrating and beautiful prose that he wrote. It is essential to any understanding of many of his most notable poems and plays. But many critics agreed it was difficult to read and understand; it is extraordinarily distilled, yet complex in an extremely precise way. In this thesis I compared “Unity of Being” in Yeats’s A Vision with “Dao” in Lao Zi’s Dao De Jing. I interpreted the similarity between the theories of Yeats and Lao Zi. In A Vision Yeats explained 28 incarnations according to the 28 phases of the moon, the Great Wheel and the deliverance of the bond of rebirth. His major symbols are the gyres, the double triangle or the primary or objective and the antithetical or subjective. The Four Faculties(Will, Mask, Creative Mind, and Body of Fate) and the Four Principles(Husk, Passionate Body, Spirit, and Celestial Body) are related to the two contrasting tinctures. The antithetical gyre is lunar, aesthetic, expressive, multiple, hierarchial, aristocratic, artistic, particular, creative. The primary gyre is solar, moral, dogmatic unifying, humane, democratic, scientific, abstract. There is a state of perpetual conflit between the gyres and the moment of harmony of the gyres. The gyres are living each other’s death, dying each other's life. In Dao De Jing Lao Zi explained the dual character of the “Dao” operate as Being-Without-Form and Being-Within-Form, or Heaven and Earth, interrelated so closely the two sides of a coin. Yeats wanted to teach us what is the ultimate reality is and we can attain the “Unity of Being” at the moment of harmony of antinomies. The ultimate reality because neither one or many, concord nor discord, is symbolized as a phaseless sphere, but as all things fall into series of antinomies in human experience it becomes, the moment it is thought of, what he describe as the Thirteenth cone. Lao Zi insisted, “the world is oneness, or unity, emerging from the moment of the Dao.” Yeats also told us, “Eternity, though motionless itself, appears to be in motion.”

본 논문은 사르트르에게 있어서 인간의 실존성과 형이상학의 종합적 인간을 구축하는 데목적이 있다. 보통 그에 있어서 인간은 실존성만 부각된 나머지, 형이상학적 측면에 대해선도외시 되는 경향이 있다. 그래서 본 논문에서 인간의 실존성과 아울러 형이상학 측면도 부각하고자 한다. 그에 있어서 인간의 실존성이란 대자존재를 의미하는데, 이것은 최초로 동일성에서 통일성으로 전락함에 따라 자기가 생겨남으로써 반성을 통하여 구성된다. 특히 그에 있어서 인간의 의식은 데카르트의 코기토처럼 결코 존재가 될 수 없을 뿐만 아니라, 자기의 확실성도 담보될 수 없는 존재이다. 그것은 단지 즉자의 무화로서 존재하며, 무로서 즉자와의 관계를 맺기 때문에 언제나 즉자와 분열을 일으킨다. 그 분열을 극복하는 것이 즉자와 대자의 일치의 시도이며, 형이상학적 인간학의 문제이다. 그런데 그에 있어서 형이상학적인 인간형은 인간이 신이 되고자 하는 욕망의 표현이다. 그러나 대자는 즉자와 부정적인 관계에 있기 때문에, 진정으로 동일성을 이루지 못하고, 통일성만 이룰 뿐이다. 그래서 사르트르의 인간관은 대자의 실존성과 형이상학적 성격이 선험적으로 통일되어 있지만, 동일성을 이루지 못하는 이율배반적 성격을 갖는다.

This paper aims to comprehensively construct human existence and metaphysical aspects in Sartre. In Sartre, humans tend to neglect metaphysical aspects only because of their existence. So, in this paper, I would like to highlight the metaphysical aspect as well as human existence. For Sartre, human existence means the Being-for-itself. This being-for-itself is constituted through reflection as self arises as it first falls from identity to unity. In particular, for Sartre, human consciousness can never be a being like Descartes' cogito, and it is a being that cannot guarantee its own certainty. It exists only as the nihilation of the in-itself, and always causes division with the in-itself because it has a relationship with the in-itself as nothing. To overcome the division is the attempt of identity between the in-itself and the for-itself, and is a problem of metaphysical anthropology. But for Sartre, metaphysical anthropology is an expression of human desire to become a god. However, since the for-itself is in a negative relationship with the in-itself, it cannot truly achieve identity, only unity. Thus, Sartre's view of humanity has a antinomic character in which the existence and metaphysical character are unified a priori, but cannot achieve identity.

This study aims at investigating W.B. Yeats’ ideas of contraries and pursues to understand the methods of unifying contraries and the significance of Unity of Being in his poetic world. Yeats attempted to embody a harmonious world through trying to meld an opposing world. These opposites include reason and sense, body and soul. He thought he would reach a perfect state, ‘Unity of Being’ through struggle between these conflicting factors. In his early poetry, he wandered between the ideal and real world, in search of fairy lands. But through his hard personal experiences, he found that the discord and conflict between his ideal and real world. After he was aware of a limited life and an old body, he wanted to navigate to Holy Byzantium, the ideal world of the soul. He wanted to incarnate himself as immortal arts. But he realized it was too difficult to achieve Unity of Being without harmonious conjunction between body and soul. And he recognized that the ideal world must be a part of the real world. (Korea Nazarene University)

W. B. Yeats was generally known as one of ‘the end-of-the-century’ romantic poets and as a poet who was “one of the greatest poets of our time―certainly the greatest in this language.” The main goal throughout his poetic career was to pursue a “Unity of Being.” He expressed it like that of a “perfectly proportioned body,” where harmony emerges from conflicts between emotion and reason, between the mind and body, and between the sun and moon. A Vision, including ‘theory of the Mask,’ took charge as the philosophical framework for his imagination, and the concept of “Unity of Being” is represented in his poem “Among School Children” through the images the “blossoming of blossom” of the chestnut-tree, and the “dancing of dancer.” ‘The Mask,’ a dramatic device, serves the function of the social self, defensive armour, and attactive weapon.” Moreover, his “Vacillation,” “The Mask,” and “Ego Dominus Tuus” were written for the Mask, the anti-self, antithetical phase, and antithesis because he felt the “Unity of Being” emerges from “the quarrel between the self and anti-self” as well as between “opposites.”

This paper examines W. B. Yeats’s pursuit of Unity of Being and the perfect life through his Poetics of Death. For Yeats, death is not an end but a transformation through which temporal life attains permanence in art. His later works?The Tower, The Winding Stair, and Last Poems-reflect a cyclical vision from A Vision, where widening and narrowing gyres symbolize the interplay of life and death. Drawing on Georg Simmel’s Metaphysics of Death, this study interprets death as an inner principle giving form to life. In A Vision, the Daimonic Man embodies the perfect life achieved through the creative tension between self and anti-self. In “Leda and the Swan” and “Lapis Lazuli,” destruction and renewal converge, transforming tragedy into joy. Ultimately, Yeats’s Poetics of Death reveals mortality as a condition for artistic permanence and the unity of the artifice of eternity.

This study aims at investigating W.B. Yeats’ ideas of contraries and pursues to understand the methods of unifying contraries and the significance of Unity of Being in his poetic world. Yeats attempted to embody a harmonious world through trying to meld an opposing world. These opposites include reason and sense, body and soul. He thought he would reach a perfect state, ‘Unity of Being’ through struggle between these conflicting factors. In his early poetry, he wandered between the ideal and real world, in search of fairy lands. But through his hard personal experiences, he found that the discord and conflict between his ideal and real world. After he was aware of a limited life and an old body, he wanted to navigate to Holy Byzantium, the ideal world of the soul. He wanted to incarnate himself as immortal arts. But he realized it was too difficult to achieve Unity of Being without harmonious conjunction between body and soul. And he recognized that the ideal world must be a part of the real world.

William Butler Yeats’s later poems are more significant than generally appreciated in that they involve two different forms of art, sculpture and poetry. Sculpture, in particular, attracted Yeats the most because he felt it represented the universal Self integrated in the Great Memory as well as the Anima Mundi. Having Michael Angelo’s Leda statues in mind, he explored a creative way to carve the muscular beauty and the passionate spirit of the Irish people in his poetry. Speculating on the unity of Being in tandem with the unity of a sculpture’s formative power and a poet’s imaginative power, Yeats could finally overcome the signs of his bodily decrepitude and sublimate his anxiousness into a creative driving force to remake his self in the universal Self of Ireland.

William Butler Yeats and Unity of Being : centering around A Vision Jumg, Jai-Hee This paper is an attempt to discuss Unity of Being of Yeats on centering on A Vision, including some poems concerned with the main subject according to the view point of Monism. Yeats' main ideas described in the poetry, essays, and his autobiography are about Eastern Nature. Yeats researches into the spirit and the body thoroughly and seeks their reconciliations and syntheses. The synthetical sphere of conflicting elements and things against each other is Unity of Being. That is a momentary enlightenment through the intuition. Also it is the absolute reality of timelessness such as attaining Buddhahood supreme enlightenment. We don't exactly know what Unity of Being is. However we only know it through the symbols. Yeats' poetry uses sex and dance as the symbol of Unity of Being. The sexual relations with other sexual beings are traditionally the symbol of reconciliations and syntheses. Self and Anti-self, body and spirit continually come into conflict with each other. In conclusion, Yeats' vision had not developed a legend or obscure mythology, but systematic Universe philosophy and the ideal reverie world. Those are Yeats' creative writing skills. And they also form the basis of A Vision. Yeats' literary work doesn't remain reverie and mystic ambiguity, but results in the ideal of human, and universality called dream.

13세기 사상가 보나벤투라는 인간 영혼과 인간 육체의 합일(unio)을 논하는과정에서 양자 사이에 복수(複數)의 실체적 형상을 정초한다. 그런데 그의 사상에서 그가 힘주어 강조하는 두 입장, 즉 인간의 단적이며 궁극적 완성으로서 인간영혼의 통일성과 인간 육체와 인간 영혼의 사이에 개입하는 여러 실체적 형상들은 동시에 보장하기 어려운 상충되는 주장처럼 보인다. 그래서 그의 입장은 하나의 동일한 인간을 설명하는 과정에서 논하는 복수의 형상들이 사실상 두 개 이상의 실체들의 우연적 결합으로 인간을 논하는 입장으로 귀결된다는 비판을 받아왔다. 이와 관련하여 본 논문은 보나벤투라가 복수의 실체적 형상이 인간 영혼과육체 사이의 관계에 반드시 필요한 이유를 제일질료의 모든 형상에 대한 무차별성 속에서 찾고 있음을 확인한다. 그리고 이를 바탕으로 보나벤투라는 오히려 복수 실체적 형상론을 비판하는 단수(單數) 실체적 형상론의 영혼과 제일질료의 직접적 결합이 양자 사이의 결합의 필연성을 저해하며 인간의 통일성을 우연한 것으로 만든다는 입장을 전개하고 있음을 확인한다. 그리고 궁극적으로 보나벤투라가 인간 영혼과 제일질료 사이의 형상들을 인간 영혼이 통일체 인간의 궁극적 완성으로 수렴하는 목적론적 질서에서 인간이라는 하나의 실체적 완성 안으로 포섭한다는 입장을 통해 인간 영혼을 정점으로 하는 통일적 질서 안에서 다양한 형상들을 통해 보장되는 다양성을 논하고 있음을 밝힌다.

Bonaventure is a representing figure of the theory of plurality of substantial forms in the 13th century. According to his theory, in a man, there is at least one intermediate form which disposes the prime matter before its union with the ultimate substantial perfection, i.e., the human soul. However, his theory seems to commit itself to a kind of plural substances view such as the substance dualism inasmuch as each intermediate form is described to give its perfection to the matter and forms a substance in this process. Furthermore, Bonaventure’s contention of ‘unique perfection for one complete substance’ seems to be in a serious conflict with his own conception of plurality of forms. It is because the intermediate forms seem to actualize the human body as some kind of substance disposed to the unique ultimate perfection of the human soul. So, some criticized that his theory consists in presenting not absolute unity of human being, but accidental one, in so far as it deploys intermediate forms between the prime matter and the human soul. But for Bonaventure, the prime matter by its own essence is in radical potentiality or possibility to all forms. As such it has no necessity to any particular form. So, according to Bonaventure, if, as his opponents like Thomas Aquinas asserted emphatically, the human soul unites with prime matter without any mediating forms, then the unity of human being should be considered not as substantial but as accidental or contingent one. That is why Bonaventure thought that it is absolutely necessary to posit some intermediating principles which dispose this indifferent prime matter to be united to the human soul. In like manner Bonaventure accuses in his turn the rival theory of unicity of form of making the unity of human being as contingent in its nature. And through his conception of the teleological order and the essential subordination of plural forms to the unique substantial perfection which is the human soul, he makes it compatible to hold at the same time the conception of ‘unique perfection for one substance’ and that of plurality of forms.