김수영 시에서의 대극적 구조와 긴장의 구현 양상

Abstract

The purpose of this study was to examine how two extremely different structures in Kim Su-Yeong's poetry were created and to consider how they were correlated and how they affected the directionality of his poetry. And that's how the structure acquires tension. The structure of condensation had the effect that brought about the balance in the contradistinctive meaning of objects and convergence on a single theme through moderate linguistic expression. Various works, such as 「Snow」, 「Waterfall」 and 「From afar」, take this structure, which contributes to promoting and completing highly substantive leap of mentality while carrying out inward reflection. The structure of waste manifested by the poems, such as 「Ha …… there is no shade」 or 「Take it back」, 「Giant Root」, etc., usually reveals conspicuous excessiveness of repetition and enumeration with the gush of emotion of poetic self exactly as it is. This kind of destruction of balance and harmony is an attempt in poetic technique to shape the theme effectively. Moreover, it represented a paradoxical mechanism against stagnation and oppression of reality, and sometimes an expression of joy towards the discovery of truth and the prospects for the future. Still, the droop of tension and absence of tension flow out.These two structures, which appeared in the same period, formed reciprocally intertwined and tense relation, thus highlighting overall aspect of Kim Su-Yeong’s poetic world characterized by convergence between reflection and action. 「One day, leaving the palace」, 「Grass」 go beyond the limits of each structure. They gain excitement and authenticity through new tensions. Thus, the step of great difference and opening is completed.