‘지귀설화’의 시적 변용 - 서정주·김춘수의 시를 중심으로

Abstract

The major poets in the history of korean poetry literature thought the narrative as the source of poetic imagination and they established characteristic poetic world by converting‘ the group narration’to‘ the individual narration’. Among them, Seo Jeongju(1915~2000) accepted narratives and reflected his poetic world in his more than 200 pieces of poems. As a result, he pioneered the uniqueness of poetic world. Kim Chunsu(1922~2004) as well converted the legendary people like ‘Cheo-Yong’‘Jigui’into ‘self-replication’or made such characters as ‘cognitive another person’. He converted korean narratives into texts keeping alive and in the end he opened his own poetic world through this. These two poets occasionally wrote a poem with the same subject - ‘Jigui’. Seo Jeongju’s ‘Queen Sondok speaks’and Kim Chunsu’s ‘Tune 3’are as such. ‘Queen Sondok speaks’is also borrowed the opposing narration structure of Jigui narrative, the general meaning is very different. In this poem, Me(queen Sonduk) and the man driven mad by the flesh are contrasted. In the poetic words, they are presented and divided.: ‘heaven(the heaven, the death)’and ‘peak(this world, the life)’, ‘here(the second heaven of this world)’and‘ Seorabul(this world)’,‘ flesh(the body)’ and ‘the second heaven of this world(the soul)’, ‘fire(Jigui’s heartburning)’ and‘ sea(purification of flames)’. But this poem is written admirably to the horizontal love transcending vertical social status and perpetual love above the spirit and the body, the life and the death. In the ‘tune 3’of Kim Chunsu’s, Jigui is called to the modern space. This work consists of repetitive meaning in the two paragraphs. This work is made of statement like tune on the base of narration of Jigui.: recitation Buddhist sutras at Haein temple, Mount Gaya, and the feet of the people at the crowded Jongro streets reflect the sublime and the vulgar, and further they reflects transcendence of the world and worldly reality. The soul of Jigui did find the resting place nowhere. his flesh and blood still chills and fevers. That is to say : Chill and fever are metaphorical expressions of Jigui’s fire, the love for queen Sonduk. It means that even though Jigui’s body was disappeared into the flames, the fire of love is circulating like the blood of flesh. Till now, ‘Jigui narrative’was re-born as the perpetual love messenger transcending vertical social status in the world, the spirit and the body, the life and the death through ‘Queen Sonduk speaks’ by Seo Jeongju. Jigui’s bitter grudge shown in the ‘Jigui narrative’ was sublimated as perpetual love. On the contrary Kim Chunsu’s poetry‘ Tune 3’shows Jigui’s bitter grudge is circulating incessantly even in our time. Seo Jeongju inserted optimistic view of world of Buddhism in ‘Jigui narrative’. He not only transformed the matrix of the narrative, but built the foundation of his poetic world, eternalism, or shamanism(believing intercourse between the living and the dead). In Kim Chunsu’s poetry ‘Tune 3’tragic narration in the previous text was borrowed, but the stage was moved to the modern time and finally the experiment on the poet’s poetic theory, what is called ‘nonsense poetry’was done. Each line and each paragraph in the traditional creation of poems aims at general meaning, but he did an experiment on the rhythm of poems. As above, the two poets built the foundation of the new world of poems using‘ Jigui narrative’. we can see that the change of the appearance in narration enhanced the life force of the narration.