정지용의 「바다」 연작시에 나타난 수(水)의 상상력

Abstract

This piece of writing began its discussion as focusing on an idea of Yin-Yang Five Elements (陰陽五行) that form a foundation of Orientalism. The reason for such discussion is that it is difficult to find oriental discussions about competitions to explain characteristics of poetry by Jeong Ji-Yong although they are important as much as to be expressed through poetry because its is concentrated on western ideas or theories. If political factors rather than art were applied in the birth process of Modernism poetry as Jeong Ji-Yong speaks, then the meaning of Modernism poetry in his work has no option but to be weakened. Literary works are the fruits of a society where the writer was born. This paper discussed about poetry series 「Ocean」 by Jeong Ji-Yong in the Yin-Yang Five Elements (陰陽五行論) perspective that is deeply inherited in culture, tradition, and idea of a society where the writer was born. The Yin-Yang Five Elements perspective an orientalism art theory that aims moderation of emotion, but it has significance as being faithful to poetics of Jeong Ji-Yong in connection with ‘passionate on the inside but cool on the outside. If discussions based on western ideas or theories show a fresh sense and a pictorial image then discussions based on oriental ideas reveal the inner world of the writer, in other words philosophy, that is hidden under the work. Imagination of water expressed in poetry series 「Ocean」 of Jeong Ji-Yong allows to look into true nature of ontological agony inherent in his inner world. As a result of discussing poetry series 「Ocean」by Jeong Ji-Yong, the key of imagination of water in poetry series 「Ocean」 is that ‘shade become light and light becomes shade’. It is the fundamental principle of Yin-Yang Five Elements (陰陽五行) and also circulativity of water (水). What the poet wanted to speak was possibility of revival, hope, that is involved in the image of liveliness preservation or the image of waiting appeared in ‘ocean’. Imagination of water presented in poetry series 「Ocean」 displayed Jeong Ji-Yong’s perception on reality underlying in delineative pictorialization or corresponding measures against reality by emphasizing revival of life, which is hope, that penetrates the whole poetry series. It is important that it suggested hope thorugh inevitability of life revival even through strong perception on reality as Manhae, Sanghwa, and Yuksa is not revealed on the outside because the narrator’s eyes are facing the inner side. Imagination appeared in poetry series 「Ocean」 is spread in the middle of process of ontological anguish, and peace of existence is an inescapable consequence. This shows the inner world of Jeong Ji-Yong was reforming as a main agent of life to enjoy an ontological sense of security. In addition, internal agony in poetry series 「Ocean」 became a shortcut to step forward to the following mountain poetry. Space has been moved to a ‘mountain’ to the ‘ocean’, but it essentially shares same idea. Lastly, this writing hopes that analysis on poetry 「Ocean」 can imply context with the latter poetries or become an opportunity to expand understanding on the path of Jeong Ji-Yong’s poetries.