류외향의 ‘들판’과 ‘바람’의 생태시문학적 함의

Abstract

The purpose of this paper is to analyze from a eco-literary viewpoint how Ryu Oe Hyang’s poetic narrators can overcome incoherence of realistic life and temerity or fetishism of modern civilization, and eventually invigorate ‘mean field’ filled with ‘starved wind’ into the original site of immortal life through the multiple imagery of ‘field’ and ‘wind’' in Flower Bed of Green Hands. The ‘field’ in this poetry is a very unique poetic space originated from the situation where poetic narrators intend to escape from the civilized world, while wandering on the borderline between material modernity and ecological origin. Poetic narrators are eager to be converted into the spirituality of divine nature through the paradoxical dynamism of ‘starved wind’. All-creatures immanent in Ryu’s field where pretentious and deceptive mind and behavior have disappeared, become to take part in a blissful ritual for rain, and thereafter eroticism of pregnancy and incubation is rolling in the field. Ryu’s field can be regarded as a eco-oriented place, in which all the absurd things hostile to one another perform an exorcism of reconciliation and eventually experience enchantment of immortality.