1920년대 시가 발견한 '들'의 표상성과 그 의미

Abstract

This study discusses the fact that ‘the field’ is found as some kind of ‘literary convention’ in the history of our 1920’s modern poetry, it is a problematized subject matter and object having temporal as well as civilizational circumstances and contexts lying in the back of it, and poets revealed their own unique spirituality and aestheticity through it while forming an intertextual field of meaning in both conscious and unconsciousness dimensions. In fact, Jo Myeong-Hui, Ju Yo-Han, Kim So-Wol, and Lee Sang-Hwa and also their poems are the representative examples of it. Among them, Jo Myeong-Hui and Ju Yo-Han’s poems are considered meaningful in that they laid the fundamentality and established the periphery as well while Kim So-Wol and Lee Sang-Hwa’s contributed to revealing the spirituality of ‘the field’ and deepening the aestheticity of it in both the ground and the main stream exhibiting their excellent aspects. In the 1920’s poetry, ‘the field’ is an object equipped with familiarity to old things and also longing for the past things that generally take place in a transitional period on its ground while life in agricultural society coexists with modern life in urban civilization. Within the flow of distorted reality in that time of the Japanese colonial era, the intellects and poets of the time when there was still hope employed it as an object to internalize the experiences of self-identification, integration, consolation, and healing. In addition to that, ‘the field’ is an object and world that expresses the senses of life as an area of nature and the universe and also allows them to meditate philosophically and metaphysically. Particularly, in Kim So-Wol and Lee Sang-Hwa’s poems, ‘the field’ reveals a fairly high level of quality. Through his theories of life, time, living, and notions, Kim So-Wol does feel and ponder multilaterally with ‘the field’. In the meantime, Lee Sang-Hwa embraces both the history of mankind and history of nature and the artificiality of time and the idleness of nature. He shows the whole and pure sense of unity with ‘the field’ itself while reporting the reality as a person belonging to the colony and performing introspection as an intellect. Though it is so in Kim So-Wol’s poems, too, in Lee Sang-Hwa’s, the senses, emotion, intellectuality, and divinity working with ‘the field’ as a ground and a center bloom while general convergence is done like a moment of epiphany. The representativeness of ‘the field’ in the 1920’s poetry is hard to be discussed while limiting it into a particular concept, for example, ‘farmers’ poetry,’ ‘agricultural poetry,’ ‘resistant poetry’, ‘national poetry’, or ‘class-based poetry’ as the world that it unfolds before us is too broad and colorful. Therefore, ‘the field’ is not affiliated to some poetry defined with particular concept, but as mentioned earlier, it works diversely while being accepted freely as one of the problematic ‘literary customs’. As a matter of fact, the representativeness of ‘the field’ is newly discovered and signified in our poems in the 1960’s and the time after that which is several decades later from the 1920’s. Therefore, we should discuss the poems of the time in different perspectives relating them with the matter of ‘the field’. It is because ‘the field’ found in the poems written in the period when all the events like the emancipation from the Japanese Empire, advent of national division, or alterations associated with civilization took place has different functions and reveals different aspects from those found in the previous poems.