김윤성과 정한모 시에 나타난 ‘식물 이미지’ 연구: 초기시를 중심으로

Abstract

The purpose of this paper is to analyze the plant images of Kim Yun-sung and Jeong Han-mo's early poems in a rich manner, examining them by Bashlar's theory. Especially in these early poems, plant images vary, especially trees and flowers. In Bashlar's plant imagination, trees and flowers contain vertical imagination and the will to exist. When you see "Do you remember me" in Puratanas, Kim Yun-sung's early poetry, the poetic speaker checks the existence of the tree and self-reflects. In "Tree," poetic speakers are identified with wet trees. The speaker goes out into the sky, not afraid, not watched, like a tree. Poetic speakers experience a vegetable leap. Poetic speakers want to overcome their weaker selves while keeping their inspiration from the tree of verticality in their hearts. In "Flowers," flowers bloom in the wind, and the presence of flowers is further highlighted by the sunset at dawn. The presence of flowers fills the margin shows that there is a power of creation. This power of creation leads to a transition of existence, which allows the poet to experience a clear, active and stable self, such as giving the poet a "clear consciousness like the sun" ("flower"). In Jeong Han-mo's early poem, solitude and despair of war were expressed, showing signs of anxiety inside. However, he dreams of a solidarity that escapes the situation of war through plant images, encounters strong inner forces, and calls for "all of us." In "Separate," "The situation of flowers falling and our parting" shows the image of descent. According to Bashlar, the movement of a fall from a vertical rise is presupposed or accompanied. The poetic speaker looks as if the white flowers are falling from top to bottom, falling and shouting our farewell. Ho wever, t his is mo re i mplicit in t he u pward image that l eads stro ngly u p. This is possible because it declares an end to the breakup. The rising image on the flower acted more strongly, forming a solid inner side that accepted the poet's parting without shaking. And he dreams of solidarity by connecting "me and you, all of us," showing vitality and willingness to rise in more flowery imagination.