이형기 詩論 연구

Abstract

What the poetics of Lee, Hyung-ki emphasizes on the whole is that poetry is a purposeless genre that exists tin order o renew eternally tn pursuit of the circulative cycle of creation and destruction, and is an artificial vision that was created through language. Though the blind submission to the established linguistic order is a foundation that supports rigidly the world and civilization, the poets scheme the disorderly disturbance that never be confined to this world through the 'eternal revolution of imaginative power', and sometimes  make full command of subversive rhetoric that convulses the established system of meanings so as to express the particular cognizance and experience. In this context! , the language of poetry does not serve the society or ideal, is self-purposive. The words of poets do not exist in the territory of meanings already settled, but comes to exist by looking squarely at the 'ruins that nullified the meaning of the world itself. Which alludes that the poetry as it is called remains initially hostile to the public perception which was cultivated in a worldly or civilized way. The poetic work that was laid in a stock of specially personal cognizance and experience makes its new and endless start, burying in its tomb the already stereotyped perception and the logic of common sense. When the poems exist in an individual way, they can use incomprehensible rhetorics in order to disclose its own uniqueness of experience and intuition. And the complaints from readers toward the abstruseness is justifiable. The inner cognizance and mentality of a poet, however, become more significant than those complaints, and to break away the words penning the mendacious recognition and experience is an ever-present poetic 'what should be'. He or she brings to ! a focus on the Buddhistic intuitionism, emphasizing on methodological awakening in order to expose his or her particularly personal perception and experience. Contemporary poets undertake to mobilize varied rhetorical strategies, as it does not come facile to demolish the recognition that has been formed adamantly in a worldly formality. it can be safely said that the contradictory phraseology and parallel rhetoric which are based especially upon the logical deviation and contingency plays a pivotal contrivance speaking for the rhetorical strategy. Through which, they smash the limit of readers to express the cosmic truth. The consecutive course of poetic works in which to vanquish the materialized cognizance and inveterate image is construed as the poeticizing (versification) by Lee, Hyung-ki, which gives birth to the cognitive faculty that " The poetry of today pales before that of tomorrow everlastingly." Which signifies that the perceptive cognizance as a modernist who ! initiates the aesthetic innovation through ceaseless novelty and diffe rentiation was reflected in his poetics . What remains important in the poetics of Lee, Hyung-ki lies in that even though a poem longs for a genuine and truthful one, it is virtually no more than a completion postponed everlastingly. Ultimately, a piece of poetic works exists in a way of self-denial being dedicated to nihil, despair, and extinction, which is not a perfect finale, but an infinitely spiritual struggle in which the beginning and the ending are occluded all together. The poetics of Lee, Hyung-ki accentuates the unlimited process of renovation so as to reach a poetic piece even through any kind of detour way, still yet toward one that can not be reached ultimately anyhow. The language of poets which can not free itself from the circle ! dance of destruction is endowed on the premise of ceaselessly habituated havoc and disappearance of meaning, and also appears and detonate by them simultaneously. In the context, his poetics is, after all, destined to be condensed to the proposition in the name of 'apocalyptic power of imagination" and 'aesthetic of Ouroboros ' that repeats self-ruin and becoming. The world of karmic predestination and naught which were laid underneath the bottom of his poetics would be as good as the endless revolution, the negation of absoluteness, and the positive expression of the cosmic order.