김수복 시의 기억 속에 내장된‘시림’과 ‘배고픔’의 구조—시집『 외박』을 중심으로 (The Meaning of ‘Chilling’ and ‘Hunger’ Embedded in the Memory in the Poems of Kim Soo Bok)

서지정보

· 발행기관 : 단국대학교(천안캠퍼스) 한국문화기술연구소
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초록

This paper presents observations on the differences of the lyricism adopted by Lee, Hyeong Kee between his early and late poems, so that some unique meanings may be generated when light is shed on the concrete modes of his transformation from early poetic frame of mind into late work.
From this standpoint, the result of a comparison made between his first collection of poems, “Desolate Landscape” and his last collection, “Cliff” suggests that the differences may be brief and simple. But his poetic scope with its core of extremes grasping eternity was extensive as well as deep. Throughout the both periods, there were similarities such as decay, awareness of death, futility of poetic ego, and poetic backdrops. His early poems shows mature old emotions and mental world despite that they were written when he was young, whereas his late poems were written by an actual old poet at his advanced stage. Whether it was intended as such, one does not know, his late poems can be seen parodies of the early ones, as reflected here in a comparative analyses. Past his early poem, having developed a negative point of view on romantic lyricism, he escapesinto a realm of epoch-making poetic transformation alone by himself for 35 years, then comes back to the original point in a full circle.
Back together with creation and extinction produced by sense of futility, the poet shows an entirely different lyricism from his early poems. Equipped with new criticism and acceptance and elements of intelligence, his late lyricism evolves into daily life, devoid of rhetoric and on the theme of extinction and creation. In contrast to his early poems’ internal futility and extinction, his late ones shows characters of external facets. The poet declares the theme of “Cliff” was ‘death’. This is because the origin of futility, extinction and creation is attributed to death. Of course, this mode of poetic transformation in lyricism stems from the changes of insight into the depth of life and views on the world.
Eight years after he deviated from his early lyricism due to skepticism, he solidifies an altered poetic position by publishing his second poem book, “Stone Pillow.” His poetic ego shows a refusal to reconcile with the world as well as showing discordance with the nature during his most ferocious phase in his “Dreaming Drought” He then throws a malicious dagger to those who could not fall asleep if not to who did not sleep. One could surmise that he was going through poetic changes based on modernism during his middle phase as he indulged in Baudelaire, negating the world and dreaming selfdestructiveness, via self-disintegration when he was discarding his early feminism and wielding his retaliatory sword. He displays, however, some contemplative latitude by not producing grotesque and gruesome scenes and by subduing fury, self-disintegration and destruction when he filters through “Balloon Heart” and “Map of the Treasure Island.” This may signify the result of his realizing it was vain to explore the essence of existence in his challenge. Poets maybe ‘perpetual revolutionists’ who overturns his own revolutions every night in his dreams. It is the stance of self check of a perpetual revolutionist prior a revolution when he defines himself as an ant set to go across a vast desert. If the theme of “Undying City” is an affirmation of existence based upon a sense of futility, then the subtitle may represent the imagination of the end, destruction and spirits of negation. He turns a state of lull that he showed in “Midnight Weather Report” into a challenge in “Undying City.” His poetic ego picks up a fight with the force that raised “Undying City” There he includes an ode to Baudelaire in “Undying City.” In this poem, the albatross crashes by boredom and not by others. This too is contradictory. Modern men would crash in order to ‘escape from boredom’. To a poet ‘futility’ is not extinction but rather a meaning by itself. It is because it discovers the most complete freedom. The appearance of Baudelaire in “Undying City” shows that Baudelaire sets both the beginning and ending of his middle phase, regardless whether he wants it or not.
One can easily surmise that there is a vast difference in the poetic awareness between a young poet who is mostly filled with dreams of future, young and fresh (poetic awareness), and the one has fallen ill and weak due to the vicissitudes of life awaiting a tragic end. On the other hand, one could easily overlook on how those opposite outlooks of life and poetic awareness concretely be expressed and transformed into beings. This paper attempted to elucidate this point by the selected poems representing those two different phases. And Lee, Hyeong Kee endeavored not to lose sight of his posture as an artist by aspiring to incur poetic transformation while holding onto the fundamental aspects of lyricism. Consequentially the contrasting characteristics of his early and late poems reaches a conclusion thatthey are closely associated with the recognition that became more and more consolidated in his life.

영어초록

This paper presents observations on the differences of the lyricism adopted by Lee, Hyeong Kee between his early and late poems, so that some unique meanings may be generated when light is shed on the concrete modes of his transformation from early poetic frame of mind into late work.
From this standpoint, the result of a comparison made between his first collection of poems, “Desolate Landscape” and his last collection, “Cliff” suggests that the differences may be brief and simple. But his poetic scope with its core of extremes grasping eternity was extensive as well as deep. Throughout the both periods, there were similarities such as decay, awareness of death, futility of poetic ego, and poetic backdrops. His early poems shows mature old emotions and mental world despite that they were written when he was young, whereas his late poems were written by an actual old poet at his advanced stage. Whether it was intended as such, one does not know, his late poems can be seen parodies of the early ones, as reflected here in a comparative analyses. Past his early poem, having developed a negative point of view on romantic lyricism, he escapesinto a realm of epoch-making poetic transformation alone by himself for 35 years, then comes back to the original point in a full circle.
Back together with creation and extinction produced by sense of futility, the poet shows an entirely different lyricism from his early poems. Equipped with new criticism and acceptance and elements of intelligence, his late lyricism evolves into daily life, devoid of rhetoric and on the theme of extinction and creation. In contrast to his early poems’ internal futility and extinction, his late ones shows characters of external facets. The poet declares the theme of “Cliff” was ‘death’. This is because the origin of futility, extinction and creation is attributed to death. Of course, this mode of poetic transformation in lyricism stems from the changes of insight into the depth of life and views on the world.
Eight years after he deviated from his early lyricism due to skepticism, he solidifies an altered poetic position by publishing his second poem book, “Stone Pillow.” His poetic ego shows a refusal to reconcile with the world as well as showing discordance with the nature during his most ferocious phase in his “Dreaming Drought” He then throws a malicious dagger to those who could not fall asleep if not to who did not sleep. One could surmise that he was going through poetic changes based on modernism during his middle phase as he indulged in Baudelaire, negating the world and dreaming selfdestructiveness, via self-disintegration when he was discarding his early feminism and wielding his retaliatory sword. He displays, however, some contemplative latitude by not producing grotesque and gruesome scenes and by subduing fury, self-disintegration and destruction when he filters through “Balloon Heart” and “Map of the Treasure Island.” This may signify the result of his realizing it was vain to explore the essence of existence in his challenge. Poets maybe ‘perpetual revolutionists’ who overturns his own revolutions every night in his dreams. It is the stance of self check of a perpetual revolutionist prior a revolution when he defines himself as an ant set to go across a vast desert. If the theme of “Undying City” is an affirmation of existence based upon a sense of futility, then the subtitle may represent the imagination of the end, destruction and spirits of negation. He turns a state of lull that he showed in “Midnight Weather Report” into a challenge in “Undying City.” His poetic ego picks up a fight with the force that raised “Undying City” There he includes an ode to Baudelaire in “Undying City.” In this poem, the albatross crashes by boredom and not by others. This too is contradictory. Modern men would crash in order to ‘escape from boredom’. To a poet ‘futility’ is not extinction but rather a meaning by itself. It is because it discovers the most complete freedom. The appearance of Baudelaire in “Undying City” shows that Baudelaire sets both the beginning and ending of his middle phase, regardless whether he wants it or not.
One can easily surmise that there is a vast difference in the poetic awareness between a young poet who is mostly filled with dreams of future, young and fresh (poetic awareness), and the one has fallen ill and weak due to the vicissitudes of life awaiting a tragic end. On the other hand, one could easily overlook on how those opposite outlooks of life and poetic awareness concretely be expressed and transformed into beings. This paper attempted to elucidate this point by the selected poems representing those two different phases. And Lee, Hyeong Kee endeavored not to lose sight of his posture as an artist by aspiring to incur poetic transformation while holding onto the fundamental aspects of lyricism. Consequentially the contrasting characteristics of his early and late poems reaches a conclusion thatthey are closely associated with the recognition that became more and more consolidated in his life.

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