윤동주 시 시어 사용의 이중성 고찰 - 일반 시의 동시 모티프 변용 양상을 중심으로

Abstract

This paper, focusing on the pureness and inclination for childlike innocence, and recognition of reality and acquirement of historicity of characteristics of Yon Dong-ju's poems, two values pursued by Yon Dong-ju's poems and the discord aspects of poetic self between them. Also, to disclose concretely this, the dual use aspects of the same motif a used in children and general verses were looked into. In children verse, 'the moon' implies brightness and light and 'the night' forms its background, but in ordinary poems 'the moon' represents a lonely moon throwing cold light and 'the night' gloom. And when 'the night' and 'the rain' was combined, it reflects more harsh reality. In children verse, 'the sky' is widespread sky, but in ordinary poems, 'the sky' is the one seen from a closed space. The speaker desires to lament in the closed space or escape from there. Children verse shows recognition of the reality through 'winter' and 'snow', but superficially sings the positive aspect of winter and snow. In ordinary poems, 'winter' is cruel reality and the season we should endure for spring. In children verse, 'the wind' is that of harmony and composition but in ordinary poems, 'the wind' has a meaning of a suffering and violence. In Yun Dong-ju's children verse, natural motifs are pure natural shapes and represent positive aspects. In ordinary poems, however, the same motif is given a personal or actual meaning, representing the speaker in agony. Like this, Yon Dong-ju, two values named pureness and historicity were variously embodied in his poems, and in the process of that, it could be guessed that he continued to cause discord. As a result of such discord, he stopped creating children verses after 1938, getting to concentrate his energy on the reality recognition. It does not mean, however, the pureness or inclination toward childlike innocence that he pursues does not disappear. He tries to solve discord in a way that the pureness and childlike innocence are arranged at the depth of his consciousness and historicity at the outer layer. Thus it is possible to read Yon Dng-ju's poems in a diverse way,