기형도 시에 나타나는 공포의 근원과 형상화 양상

Abstract

In this article I examined the source of fear underlying in the text of Gi Hyeong-do by dividing it into the exterior factor and the interior factor and then I studied how fear was embodied concretely. The fear in his poetry is formed by the exterior scenery of his era. However, Gi Hyeong-do does not illustrate the political chaos of the 1980s explicitly. He just narrates correlation between an individual’s life and the times microscopically. So does the description of school, army, society experiences and so on. It does not aim at politics itself, however, the limitation of an individual who cannot but be dominated politically is the very truth of the exterior scenery forming the fear of Gi Hyeong-do. The other source of his fear lies in the interior scenery. Very definitely this is the family dissolution due to the absence of his father. The absence of his father means that the father’s responsibility was shifted on his mother. But the limitation of his mother who could not replace the father’s role interspersed his inner side with fears. What matters is that he underwent these experiences in his childhood. Thus experiencing his father’s death in his childhood functions as the most significant inner scenery forming Gi Hyeong-do’s fear. And furthermore, it is the key factor that dominates Gi Hyeong-do’s life as an adult. The fear developed in such a way is illustrated in various ways. The fear of Gi Hyeong-do is described as a paradigmatic set of nouns or adjectives such as “lonely,” “darkness,” “black,” “night,” “pitch dark,” “winter,” “snow,” “ice.” The fears such as the solitude formed by the word, “lonely,” the death and sterility by the words, “darkness,” “night,” “pitch dark,” and desperation and wondering by the words, “winter,” “snow,” “ice” are like that. In addition, this fear is revealed through the confession of the first-person narrator without a word of lie. Readers could stare at Gi Hyeong-do’s agonizing inner side and understand his mentality from the way of confessing his inner self without distortion by using a first-person narration.