조지훈 시에 나타난 자연 인식과 미의식의 범주 - 「고풍의상」, 「절정」, 「산방」을 중심으로 -

Abstract

Cho Jihoon viewed nature as the elan vital of poetry, qualifying poems that express “Jung, 정/情” in union with “경/景” which nature is sensuously and esthetically as poesy par excellence. Thus to him the aim of the original realm of poetry was to discover nature, which in the cultural sphere of East Asia did not simply mean material phenomena but instead agnized it as a personified or deistic existence or as an embodiment of the way or truth. So one can tell that Cho, having embodied his ethos or conscious domain through the inter-fusion of gyong and jung, objectivity and subjectivity, did carry on the poetic form and traditional thinking of East Asia. Such is the poetic realm by which the core of his view of poetry can be integrated; it is also the key concept whereby his spirit of poetry may be explained. Nature as he saw presented itself in various forms. The purpose of this study is to explain how Cho Jihoon attempted to interface nature and its embodiment in the context of theories on traditional East Asian poetry in light of his works and theories of poetry. My study can thus be regarded as an endeavor to look at the aim of his poems and theories of poetry and the roots of Korean poetry simultaneously. Note that Cho viewed poetry in terms of Resolute, Contemplative, and Elegant types, namely a realm of poetry that integrates the very core of his view of poetry which in turn ties in with the esthetic properties of nature of the Orient wherein the tradition of Korean poetry is anchored. Through his poem entitled Image of Antiquity, Cho shows how he perceives the depth of the uniquely Korean costume, i.e. his intuitive intellect in the sense of contemplative esthetics while in The Zenith he lets the reader see the esthetics of resolute determination that evokes the sorrow of contradictions and conflicts between/among human beings. Through a poem of the Elegant type entitled The Corymb, he also personally demonstrates how the naturwüchsigkeit is embodied in the context of a relationship between the writer creating a poem and his audience. Note that Corymb signifies a state where one feels nature and feels becoming one with its life by entering it, as it were. In order to embed in his works of poetry the kind of thinking that defies embrace by ethos characteristic of contemporary modern West, Cho probed the existentialistic meaning of life by means of natural emblems. We are thus able to see that the poet under discussion does indeed carry on the esthetic properties of nature emblematic of East Asia in which traditions remain rooted both lyrically and spiritually.