이형기 시에 나타난 우로보로스 시학 (Ancient Greek's circle symbol, the Ouroboros forms a circle depicting a large snake or dragon biting and swallowing its tail)

서지정보

· 발행기관 : 한국언어문화학회
· 수록지 정보 : 한국언어문화 / 42호 / 59 ~ 78페이지
· 저자명 : 김동중

초록

People thus believed that endless repetition, namely, eternal repetition exists therein. It was recognized as a continuous tangling of creation and fading, continuity and discontinuity, and existence and non-existence in the fulfillment of the desperate and absolute preposition of “beginning is the end,” and essentially emptiness. This is because, in Yi Hyeong-gi's poems, emptiness, serving as the framework of thought, is of great help in understanding the Ouroboros.
The Ouroboros serves as double mechanisms in Yi Hyeong-gi's poems. It functions as the two axes of the surface and the inner side, and penetrates nearly a half of the whole poems or exists in a single poem. The surface mechanism function can be possible when the true poet attitude is maintained through the ironical remarks of linking to eternity through endless confirmation of defeat. On the other hand, the inner function externally aims for fading and perishing, negation and despair, destruction and tremble, and crisis and dismantling of civilizations, and yet internally pledges to achieve creation and sublimation, affirmativeness and wind, overcoming and healing, and nature and bondage. This outwardly allows extreme emptiness to serve as its central element, and yet internally hides its strong will to transcend it.
Hence, the Ouroboros poetics of Yi Hyeong-gi links himself to the reality of stimulating his will and language, and yet serves as another axis. His contribution to will is directly linked to his vision or ability of writing and leads himself to a firm revolutionist. In that sense, his contribution to language also continues to serve to stimulate the infiniteness of poem and poesie and helps mass-produce liberated poetic words.
Thus, the Ouroboros, together with Buddhist thoughts such as transmigration, forms the frame of poetic transformation of Yi Hyeong-gi, as well as secures the foundations as the embodiment of thoughts.
Furthermore, Yi Hyeong-gi was a poet who evoked his strong will to expect changes as desperate despair emptiness accumulated and thus attempted to vent unconditional despair and strong desire for revival. Thus, the more he outwardly colludes with the devil or decadence, he cannot inwardly avoid his strong will to overcome this. As he repeated defeat and challenge, he did not forsake the nature of devil, and also, he cooperated with the devil and yet proposed equal conditions. The Myth of Sisyphus is mentioned in connection with him, because such a road is never a smooth one.
The Ouroboros poetics shown across the poems of Yi Hyeong-gi also serve as two functions. One is a paradoxical will to eschatology, and this is revealed through the poetic circulation ring where the will to overcome and transcend the end, amid the existence of th Ouroboros of prosperity and emptiness that repeats original emptiness and original nil. This is because it is not unrelated to the thought of “nothing existed” he early cherished. The other is the manifestation of negation and dismantling, and overcoming and win-win. His will to transcend and create as emptiness and despair grow deeper is yet another reality of his strong cohesion. In other words, the Ouroboros poetics that involves the harmony with nature and far-sighted view -- destruction and dismantling -- transcending and creation embraces the context penetrating the whole of his poetry.

영어초록

People thus believed that endless repetition, namely, eternal repetition exists therein. It was recognized as a continuous tangling of creation and fading, continuity and discontinuity, and existence and non-existence in the fulfillment of the desperate and absolute preposition of “beginning is the end,” and essentially emptiness. This is because, in Yi Hyeong-gi's poems, emptiness, serving as the framework of thought, is of great help in understanding the Ouroboros.
The Ouroboros serves as double mechanisms in Yi Hyeong-gi's poems. It functions as the two axes of the surface and the inner side, and penetrates nearly a half of the whole poems or exists in a single poem. The surface mechanism function can be possible when the true poet attitude is maintained through the ironical remarks of linking to eternity through endless confirmation of defeat. On the other hand, the inner function externally aims for fading and perishing, negation and despair, destruction and tremble, and crisis and dismantling of civilizations, and yet internally pledges to achieve creation and sublimation, affirmativeness and wind, overcoming and healing, and nature and bondage. This outwardly allows extreme emptiness to serve as its central element, and yet internally hides its strong will to transcend it.
Hence, the Ouroboros poetics of Yi Hyeong-gi links himself to the reality of stimulating his will and language, and yet serves as another axis. His contribution to will is directly linked to his vision or ability of writing and leads himself to a firm revolutionist. In that sense, his contribution to language also continues to serve to stimulate the infiniteness of poem and poesie and helps mass-produce liberated poetic words.
Thus, the Ouroboros, together with Buddhist thoughts such as transmigration, forms the frame of poetic transformation of Yi Hyeong-gi, as well as secures the foundations as the embodiment of thoughts.
Furthermore, Yi Hyeong-gi was a poet who evoked his strong will to expect changes as desperate despair emptiness accumulated and thus attempted to vent unconditional despair and strong desire for revival. Thus, the more he outwardly colludes with the devil or decadence, he cannot inwardly avoid his strong will to overcome this. As he repeated defeat and challenge, he did not forsake the nature of devil, and also, he cooperated with the devil and yet proposed equal conditions. The Myth of Sisyphus is mentioned in connection with him, because such a road is never a smooth one.
The Ouroboros poetics shown across the poems of Yi Hyeong-gi also serve as two functions. One is a paradoxical will to eschatology, and this is revealed through the poetic circulation ring where the will to overcome and transcend the end, amid the existence of th Ouroboros of prosperity and emptiness that repeats original emptiness and original nil. This is because it is not unrelated to the thought of “nothing existed” he early cherished. The other is the manifestation of negation and dismantling, and overcoming and win-win. His will to transcend and create as emptiness and despair grow deeper is yet another reality of his strong cohesion. In other words, the Ouroboros poetics that involves the harmony with nature and far-sighted view -- destruction and dismantling -- transcending and creation embraces the context penetrating the whole of his poetry.

참고자료

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