김수영 시의 한시적(漢詩的) 구조의 병렬 반복 연구 (A Study on Parallel Repetition of Chinese Poetic Structure in Kim Soo-young's Poetry)

서지정보

· 발행기관 : 현대문학이론학회
· 수록지 정보 : 현대문학이론연구 / 42호 / 19 ~ 44페이지
· 저자명 : 신익호

초록

김수영 시에서 반복과 열거는 초기시에서 후기시에 이르기까지 폭넓게 나타난다. 그의 시에서 반복은 동일한 낱말, 형태소, 시행, 구절, 문장 등으로 다양하게 나타나 환유라는 의미 전달 체계로 전이되어 시적 구성 원리로 작용한다. 본고는 김수영 시의 다양한 반복 형태 중 주로 구절과 문장 반복이 기승전결 형태의 시 각 연에 나타나는 작품을 대상으로 어떻게 가변적, 축약적, 대칭적 병렬 반복의 변주 과정이 나타나는지 구조적 관점에서 살펴보았다. 첫째, 한시 구조의 병렬 반복은 전통적 한시 작법인 기승전결 형태의 선경후정(先景後情)의 묘사법에 따라 『자장가』, 『파자마바람』에서 엿볼 수 있다. 둘째, 변주된 한시 구조의 형태로 가변적 병렬 반복과 축약된 병렬 반복으로 나눌 수 있는데, 가변적 병렬 반복은 도식적인 정형의 틀을 벗어나 다양한 변주에 따른 입체성을 나타낸 형태로 『사령』, 『폭포』에서 엿볼 수 있고, 축약된 병렬 반복은 한시 구조의 후반부를 하나의 연으로 축약한 형태로 『파밭가에서』, 『광야』에서 엿볼 수 있다. 셋째, 대칭적 병렬 반복은 전반부와 후반부로 나누어 전후대칭을 이루는 형태로 『눈』, 『여름뜰』에서 엿볼 수 있다.

영어초록

The aim of this study is to analyze the form of the parallel repetition of Chinese poetic structure in Kim Soo-young's poetry.
First, the form of parallel repetition of Chinese poetic structure is divided into two parts, the beginning and the end. It consists of 4 stanzas for introduction, development, turn and conclusion, which are regarded as the structure of the traditional Chinese poem. According to the way of description of Chinese poetry, Kim Soo-young mentions a certain situation in the beginning and expresses, concretely, the subjective emotion which is suitable for the situation in the end. “Lullaby” and “In One's Pajamas” are good examples for this description. In “Lullaby”, he depicts a baby's cute look and the subjective emotion of the narrator who is looking at the baby. In the poem, “In One's Pajamas”, he satirizes the weakness and pretension of a lower-middle class citizen with the fragmentary talk of everyday affairs.
Second, the form of the changed Chinese poetic structure can be divided into the flexible parallel repetition and the contracted parallel repetition.
(1) The form of the flexible parallel repetition is made up of 5 stanzas, but it is summarized in 4 stanzas through consideration for the repetition of syntactic structure which appears superficially. Deviating from the schematic pattern, he shows many different variations. There are “Dead Soul”, “From a Distance” and “Waterfall” as examples of this form. He expresses the strong will toward freedom through a connection between the beginning and the end in “Dead Soul”, the mental frustration through the cognition of pain in “From a Distance”, and strong belief and integrity through the vertical visualization of propriety in “Waterfall”.
(2) The form of the contracted parallel repetition indicates that a poem has 3 stanzas by contracting two stanzas of turn and a conclusion into 1 stanza. “In an Onion Patch” and “Wilderness” are good examples of this form. Kim Soo-young illustrates the phenomenological cognition of change and the phenomenon of love through the gradation and the structure of paradoxical proposition in “In an Onion Patch”. He faces reality through the structure of inner conversation and the visual rhythm in “Wilderness”.
Third, the form of symmetrical parallel repetition indicates both the symmetry of the beginning and end as well as the relationship formation through combination and response as the fusion structure of mutual conflict and collision. “Snow” and “Summer Garden” are good illustrations of this form. “Snow” portrays the conscious recognition of the intellectual in action who rejects the daily repetition of a lower-middle class citizen through the metonymic structure of contiguity. As a variation of conflict structure, “Summer Garden” demonstrates the scornful and negative attitude of self-recognition under the pain of inner conflict and with reproach upon indecision.

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