풍자 이전의 전영경: 전영경 초기 시 연구 – 시집 『선사시대』를 중심으로

Abstract

This study is written as a poem to understand the early poems of Jeon Yeong-gyeong. There is not much discussion on Jeon Young-gyeong, and even that is usually focused on how it is similar and different from satirical poems such as Song Wook, paying attention to the satirical aspects of the second and third poems. Jeon Yeong-gyeong was a generation who grew up receiving institutional education in Japanese during the colonial period and was also a displaced person who settled in South Korea as a native of North Hamgyong. At the time of his rise as a poet, it was difficult to freely mention the culture accumulated from Japanese books and the writers of North Korea and the abductees among senior Korean writers. In his early poems, Jeon Young-kyung did not challenge such taboos head-on, but he used poetry reminiscent of North and South Korean writers, while recalling Japanese books through the title of the poem. It was used as a group of images that made up Jeon Young-gyeong’s poetry world itself, and also made his poetry like a difficult code to understand. It is judged that Jeon Young-gyeong’s poetry needs to be examined in relation to Japanese Decadence writers. Jeon Young-gyeong mentioned Dazai Osamu, a Decadence artist, from his feelings on his debut, and borrowed the title of Dazai Osamu’s work from various poetry titles. The theatrical form of the Dazai Osamu’s novel is similar to the satirical poem in the second and third poems, and Jeon Young-gyeong’s repetition and theory of poetry resemble the style of another Decadence writer Sakaguchi Ango. It would not be fair to see that the beginning of Jeon Yeong-gyeong was a follow-up to the creative method and atmosphere of the Japanese Decadence faction, or that it was entirely under the influence of it. However, the fact that he clearly revealed his reading experience through poetry in the early poems, the creation of poetry as if he were acting with several others as speakers in later poems, and the attitude of poetic speakers toward the world are points that enable comparison with them. This may be the result of the poet simply harvesting the literature he had been inclined to, but it may be that he introduced it because he felt that the author’s attitude of the Japanese Decadence faction was in line with the postwar Korean reality. In the latter case, we can look at how appropriate it was for our reality and literary circles at the time, or whether it was just an unfamiliar imitation. This will be a future task.