서정주 시의 전기적 고찰－『화사집』을 중심으로－ (Biographical Study of Jeongju Seo’s Poetry －With a focus on 『Hwa Sa Jib』－)

서지정보

· 발행기관 : 한국언어문학회
· 수록지 정보 : 한국언어문학 / 87호 / 339 ~ 357페이지
· 저자명 : 안현심

초록

This study is aimed to inquire the Seo’s poetry biographically. Only the period of 『hwa sa jip』 has been studied because it is not strong enough to comment on every step of his lifetime on this essay. In looking at 24 pieces of poetry in 『hwa sa jip』, it could be divided into three parts like; self-portraits of a struggling young man, works changed mythologically from folktales and stories, and works embodying the sensuous corporeality.
Works embodying a self-portrait of young man lived in Japanese colonial period indicate hopeless despair, and representative works are like 「A self-portrait」, 「Wall」, and 「Sea」. “My father was servant” the first line of 「A self-portrait」 reflects the biographical fact; however, considering the poet's life was relatively wealthy, it could be seen that it embodies the sense of shame as people of ruined country during the Japanese occupation. Meanwhile, the young colonist's anger is more straightforwardly and passionately shown on 「Sea」 than the one on 「A self-portrait」.
A work 「Legend of a tile-roofed house」 reminiscing girls of JILMAJAE is the work which embodies the ‘SEOWUNNI’ whom Seo Jeongju used to call her as ‘teacher flower’. ‘SEOWUNNI’ is the person who made Seo's childhood enrich in taking the children to the mountains and fields. Huge shock which had been gotten from her acts as material for stimulating the imagnation of Seo Jeongju during his lifetime. If 「Legend of a tile-roofed house」 embodies the image of ‘SEOWUNNI’, 「Door」 is the work added with poet's imagination to the story heard from ‘SEOWUNNI’. The door been embodied on the work is a boundary between life and death.
At the starting point of creation of poetry, Seo Jeong Ju showed irresistible vitality and energy with active attitude. In this way, it would be showing antinomical form that the life is more beautiful light than hatred and captivation, and disgust and colorful daenim. Therefore, 「Hwasa」 seemed as embodying the voluptuous pleasure could be the work been visualized the attitude to make the life get better. A fact to lead the 「Midday」 is the road; “pick and eat, man can be dying like sleeping/the road between ruddy flower beds”. Sensual image is included in the embodiment of “dying like sleeping” without defiance. As the image of ruddy flowers from “the road between ruddy flower beds” also express the passion, it has strong sensuality.
Notions like corporeality or sensuality are deeply related with the human finitude. Human might feels fears and threats because of their finitude. The fact that the corporeality appeared on Seo's intial poetry works many times can be interpreted like this; during the Japanese occupation people's uneasy mentalities, living in ruined country, were spreaded to the human finitude and the fear of disconnection, and shown.

영어초록

This study is aimed to inquire the Seo’s poetry biographically. Only the period of 『hwa sa jip』 has been studied because it is not strong enough to comment on every step of his lifetime on this essay. In looking at 24 pieces of poetry in 『hwa sa jip』, it could be divided into three parts like; self-portraits of a struggling young man, works changed mythologically from folktales and stories, and works embodying the sensuous corporeality.
Works embodying a self-portrait of young man lived in Japanese colonial period indicate hopeless despair, and representative works are like 「A self-portrait」, 「Wall」, and 「Sea」. “My father was servant” the first line of 「A self-portrait」 reflects the biographical fact; however, considering the poet's life was relatively wealthy, it could be seen that it embodies the sense of shame as people of ruined country during the Japanese occupation. Meanwhile, the young colonist's anger is more straightforwardly and passionately shown on 「Sea」 than the one on 「A self-portrait」.
A work 「Legend of a tile-roofed house」 reminiscing girls of JILMAJAE is the work which embodies the ‘SEOWUNNI’ whom Seo Jeongju used to call her as ‘teacher flower’. ‘SEOWUNNI’ is the person who made Seo's childhood enrich in taking the children to the mountains and fields. Huge shock which had been gotten from her acts as material for stimulating the imagnation of Seo Jeongju during his lifetime. If 「Legend of a tile-roofed house」 embodies the image of ‘SEOWUNNI’, 「Door」 is the work added with poet's imagination to the story heard from ‘SEOWUNNI’. The door been embodied on the work is a boundary between life and death.
At the starting point of creation of poetry, Seo Jeong Ju showed irresistible vitality and energy with active attitude. In this way, it would be showing antinomical form that the life is more beautiful light than hatred and captivation, and disgust and colorful daenim. Therefore, 「Hwasa」 seemed as embodying the voluptuous pleasure could be the work been visualized the attitude to make the life get better. A fact to lead the 「Midday」 is the road; “pick and eat, man can be dying like sleeping/the road between ruddy flower beds”. Sensual image is included in the embodiment of “dying like sleeping” without defiance. As the image of ruddy flowers from “the road between ruddy flower beds” also express the passion, it has strong sensuality.
Notions like corporeality or sensuality are deeply related with the human finitude. Human might feels fears and threats because of their finitude. The fact that the corporeality appeared on Seo's intial poetry works many times can be interpreted like this; during the Japanese occupation people's uneasy mentalities, living in ruined country, were spreaded to the human finitude and the fear of disconnection, and shown.

참고자료

· 없음