정지용 시에 나타난 존재론적 초월의 양상과 의미

Abstract

This study would examine Jeong Ji-yong’s entire world of poems, concerning how ontological transcendence occurred in the chronological flow and how it, finally, reached the stage of full maturity. Jeong Ji-yong was a colonial intellectual in the 1920s, who steadily expressed the historical sorrow from the loss of sovereignty and existential pain because of the death of children in his early poems with the emotion of grief. His poetry writing eventually proceeds in a direction to overcome this ontological lack, and in his early poems, hometown poems play a role in replacing the utopia temporarily lost. However, when the time of his study abroad was over and he felt the wall of reality more deeply, his home could not serve such a function any longer. This provides Jeong Ji-yong with a chance to overcome the existentially critical situation in his poems during the middle period through religious poems. Jeong Ji-yong's religious poems expose a religious ideality somewhat roughly in terms of the level, but they provide a spiritual basis on which the grief of early poems can be resolved. This provides Jeong Ji-yong with a chance to accomplish creative sublimation through landscape poems during the late period, keeping pace with the flow of the tradition-oriented literature in the late 1930s. The second volume of his poetry, titled Baengnokdam, which falls under his late poems, is a slim volume of poetry, consisting of 25 pieces, and excluding about 5 pieces, almost all are poems relate to the mountains. Of them, especially “Onjeong” and “Sapsari” are the works showing that he reached this spiritual world of noble landscape poems which spread in his late poems through his religious poems. Thus, the essence of the Jeong Ji-yong's consciousness of poems lies in the sublimation through overcoming his existential grief in the early period through religious salvation in his poems during the middle period and sublimating it through oriental landscape painting in his late poems.