김춘수 시 연구

Abstract

Kim Chun-su adhered to the euphemistic confrontation with the actual by the quest of the aesthetic meaning of existence in his poetry. His pure poetry, which is developed in the pattern of the pure art rather than the social commitment, left a prominent trace in the current of our modern poetry. He confessed that our modern poetry obviously inclined toward the selfish, escapist, indifferent, and apathetic attitudes together with the loss of the scrutiny and resistance against the actual from the latter half of the 1960s. He found this reason in the persecution amnia that he had in his youth. He felt keenly in what manner our modern history overrode the human right as an individual. He, who experienced the ill-will of the history in the actual world, disclaimed history and came to have the artistic belief that he could reestablish the essential homogeneity of the relationship of the things through the aesthetic rationality. Accordingly, he achieved the excellent poetic art which blended the traditional thought and sensibility of Korea with those of the Western in the pursuit of the pure poetry for twenty years through Cheoyong (transcendental character) in a Korean narrative poem. But Kim Chun-su's poems often show to us the gap with his poetics. His pure poems persue the essential homogeneity in the dissimility, but the perception and practice of this dissimility are not clear in the space of the reality. He shows many experimental practices in his later poems, but he loses his poetic state of tension. The reason is that his aesthetic Aura is replaced with the aesthetic idea. This fact is related to his mythic thought which excluded the history and the reality.