박용래 시에서 ‘노을’ 풍경의 변주 양상 연구 ― ‘소묘’의 선(線)과 ‘점묘’의 색(色)을 잇는 ‘소리울림[鳴]’을 중심으로

Abstract

The painterliness of Park Yong-rae's poetry is commonly known for its pursuit of drawing and pointage techniques. In the part where he evaluates his poetry in his prose as “a so-called pointage and drawing style of poetry that seems to list small tools,” the need to distinguish between the two pictorial techniques is raised. This paper examined only the evening ‘sunset’ landscape among the painterliness of Park Yong-rae’s poetry. Park Yong-rae's poetic world can be divided into three poetry collections, namely, SSaraknun[Sleet](1969), Puppy Grass[Foxtail](1975), and White-haired Kkotdaegung[White-haired Flower-stalk](1979). In the early stages, 'drawn' poetry was constructed focusing on 'lines', that is, short phrases, depicting the external appearance of the poetic object, but from the middle period onwards, mainly in the later period, 'color' was used to color the entire work, he completed a 'pointillistic' poem that was possible with just a list of nouns. And the reason why this variation is possible is because of the effect of the ‘sound resonance’ expressed as a “double-released whirligig” when the pointage of Park Yong-rae’s poetry depicts paintings by Camille Pissarro or Van Gogh in the mid-period. In other words, the phenomenon of sounds that cannot be heard in reality resonating inside in a quiet situation is depicted in the perspective of the sunset. The reason this is possible is because what was depicted only as ‘outer’ lines, such as the straight and clear sunset of the “mountain ridge” or the “horizon” in early sketch poetry, was gradually internalized into a gentle “ridge.” The sunset poems, which went from a line-centered, drawn poem in the early stages to the inner nature of sound in the middle period, transformed into intense colors such as “cockscomb flower water” and “herd of bulls” in the later period. This is because insights into finite life, such as “afterglow” and “the fire thief,” are reflected in the colors of the sunset, and poetically discover the “tear point” where the sunset light soaks.