이상의 「시제일호」의 새로운 해석: 공포의 확장인가 무화(無化)인가?

Abstract

Judging that the interpretations of Yi Sang’s “Poem Number One,” only from the aspects of anxiety and fear till now, might be biased ones, this study examined whether “Poem Number One” could be newly interpreted from the inside of the text and then the outside of it. First, from the inside of the text, this study diagrammatized its consistently repetitive structure as a chiastic structure in Hebrew literature and focused on Line 16, which is in the pivot. In other words, the scene in which 13 children are running rapidly to the road in the first half creates a turning point dissolved suddenly at the end of the poem shows the possibility that the 13 children may turn into ‘frightening children’ and ‘frightened children’ in Line 16. This has been interpreted as the children’s hostile fear of each other till now, and this study pointed out that it can be interpreted as horror and fear for forces outside of them. In addition, the interpretations of “Poem Number One” till now have focused on the presentation of the scary situation in the first half before the turning point of Line 16 while this study raised the necessity to focus on the situation of the ending where all this situation is suddenly erased and nullified. It is judged that this structural analysis should be connected to an analysis on the characteristics of a discourse on the narrator and focalizer in the story narration of poetry, and this is because the sudden erasure of the situation of horror presented by this poem shows the existence of a controller consequently. This study refers to this controller as ‘an external focalizer’ based on Shlomith Rimmon-Kenan’s studies and notes that the most important focus of the inside of the text as ‘viewing subjects’ is in the presentation and suspension of the situation based on this external focalizer. In other words, since this poem concentrates on ending by resolving the situation itself, in addition to ending with deepening the scary situation itself, a balanced interpretation is necessary between the re-experience of fear and the nullification of it. This study raised a possibility that, in the poem, the frightening children as subjects that caused such a change, could be interpreted as those who are standing against the subject of fear, which delivered that to them or the object of fear, not the other children trembled with fear. Also, from the outside of the text, this interpretation of “Poem Number One” is possible: First, if the series of “Jogamdo” is analyzed based on the fact that the title of the series of “Ogamdo (Brow’s-eye view)” came from “Jogamdo (Bird’s-eye view),” it is found that the title of a series of “Ogamdo” never refer to a sinister implication in that it is noted that the crow appearing in “LE URINE” is a very dignified and mystical symbol of sublimity. Above all, it can be noted that an interpretation that ‘the children’s rapid running’ as a key poetic situation described in “Poem Number One” is in line with the meaning of an escape from the violence of modernity rather than having a meaning as a confusing scene of the fear of all for all is connected to a new interpretive perspective for “Mr. Cha8’s Departure” by “Au Magasin de Nouveautes” that ended his early Japanese poems and new interpretations of the number ‘13’ which existed before, which can be considered political and in the same genealogy as that of the rapid running of Superman (Übermensch) in Nietzsche. Therefore, it is noted that “Poem Number One” is not a poem that only focused on the representational imagery of everybody’s sensation of fear, but one that ironically expressed the appearance of ‘frightening children’ who would nullify all that horror while passing through re-experiencing such fear.