李箱의 수필 ？倦怠？의 의미망
Dimensions of “Ennui” by Y-sang
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李箱의 倦怠에 나타난 ‘倦怠’는 3가지 意味를 머금고 있다. 첫째로 현대인의 질환인 自意識 過剩조차 閉鎖된 ‘極倦怠’, 둘째로 농민들의 끝없는 가난과 勞役의 다른 이름인 ‘凶惡한 倦怠’, 셋째로 大自然의 무심함, 즉 到達할 수 없는 彼岸으로서의 ‘絶對倦怠’가 그것이다. 李箱의 문학은 식민지적 근대의 질환 그 자체이다. 그는 이 질환에서 벗어나기 위해 東京으로의 탈출을 감행했으나, 模造近代로서의 東京은 그를 자살조차 할 수 없는 ‘極倦怠’로 몰아넣었고, 이 지점에서 그는 成川을 떠올려 ‘凶惡한 倦怠’와 ‘絶對倦怠’를 발견했다. 그의 문학은 成川의 두 권태로부터 다시 출발해야 했다. ‘凶惡한 倦怠’는 그의 문학에 사회적역사적 거점을, ‘絶對倦怠’는 존재론적 거점을 각각 마련해 줄 수 있었다. 그러나 그는 이러한 새로운 창작 방법을 찾는 고투를 시작함과 동시에 죽음을 맞이하고 말았다.
Abstract
Dimensions of “Ennui” by Y-sang Ryu, Yang-seon ‘Ennui' in Y-sang's “Ennui” contains three dimensions of meaning: extreme, wicked, and absolute. The ‘extreme-ennui’ designates a mental state to which even excessive self-consciousness, a typical disease of modern men and women, is blocked away. To an emotion of boredom which has been created by a long enduring poverty and hard labor suffered by peasants, he put the name of ‘wicked ennui’. Lastly, there is ‘absolute ennui’ as what may be called unconcernedness of Nature, an otherworldly stage which we mortals cannot reach. Y-sang's literature embodies a disease of colonial modernity itself. His escape to Tokyo, ventured to relieve himself from the disease by experiencing a real modernity, only drove him to the ‘extreme-ennui’ in which he had no power of finishing his suffering by suicide, for Tokyo was proved pseudo-modern. His essay was possible when he recalled Seungchon and recognized from its memory two other dimensions of ennui, wicked and absolute. This recognition could have reshaped his literary career, for the idea of wicked-ennui could provide him with a historical and societal ground and that of absolute-ennui with an ontological ground. His tragic death, however, ended his struggle for searching a new methodology of creation at the moment of its commencement.