임화 시에 나타난 “태평양”의 의미 연구

Abstract

This study attempts to examine the significance of “the Pacific Ocean” in Hwa Lim’s poems, which has been rarely received discussed compared to his other works. Although Hwa Lim exhibits both the “Pacific Ocean” and “Korean Strait” when depicting of the sea, the current research has often overlooked the meaning of “Pacific Ocean”. This study extends the established category of his poems on the sea by introducing and analyzing “The Habor of Yokohama under an Umbrella”, which mentions the name “Pacific Ocean”. “The Habor of Yokohama under an Umbrella” is a poem written as a response to “Raining Sinagawa Station”, and it suggests the way how he structures a form of return. The sense of the return in the poem is internalized. Hwa Lim places “Pacific Ocean” on one side of his structure of the return. Despite the absence of a passage from Yokohama to Chosun at his time, Hwa Lim offers this route in his poem. Here, he provides the sense of “exile” in the notion of the sea by introducing “Pacific Ocean” and sings that one’s return is only possible by the sea of exile. What Hwa Lim means by the exile involves the sense that opens up a new possibility of solidarity. The return in “The Habor of Yokohama under an Umbrella” enables the agreement between the classes. Thus, the structure of the return in the poem starts from Japan and returns to Japan via Chosun. It was Hwa Lim’s idea that one could realize solidarity and the liberation of the proletariat by such mode of the return. To do this, he attempts to venture an imaginative passage through his way of poetic imagination. Hwa Lim continues this project even as experiencing difficulties such as the dissolution of KAPF. When the chances became scarce to hope the solidarity and the liberation of the proletariat, he reverses the way in which his contemporaries depict the structure of the return by writing the series of “Korean Strait”. Indeed, it is "the Pacific Ocean” that provides considerable power in this attempt. “The Pacific Ocean” is given to us as the sea of return. It transforms the established structure of return and leads it to form itself poetically, that is, departure from Chosun and return to Chosun. The “Pacific Ocean”, though of which name is called in the poem, it is not illustrated, but rather appears as a possibility subtly given to us. By internalizing the passage of exile, “the Pacific Ocean”, which was the sea of exile, now becomes a subject that one could encounter as the sea of “possibility”. In light of this, it could be suggested that “Korean Strait”, previously understood as the basis of the “Korean Strait complex”, in fact, bears a different sense in its inner structure. “Korean Strait” is where “Pacific Ocean” flows in, which allows access to Chosun as a place under the influence of such current. At a superficial level, it shows Hwa Lim’s idea, the liberation of the proletariat and the solidarity of the classes. Underneath the level, it engages with the power that returns to us as the dimension of a “possibility”. He constantly summons up the possibility, as a result of his awareness of the “impossibility” of realizing his idea in reality. This power that recalls the “possibility” is imagination, of which its appearance features Romanticism. To conclude, “Pacific Ocean” serves as a medium in Hwa Lim’s poems. It is a poetic word that bears significance in leading the future to the present. Given these points, this paper proposes that the current studies on Hwa Lim, which often analyzes his poems based on Korean Strait complex, should take a different approach and reassess them.