오장환 시의 보여주기 기법과 현실 대응 방식 - 산문시와 숨은 화자를 중심으로

Abstract

To examine new points about Oh Jang-hwan’s poems, this study has precisely analyzed his prose poetry published intensively in the beginning of his debut in the literary world. The poems are mostly prose poems, and the poems mainly considered here are those of which persona is hidden inside the work. Oh Jang-hwan stressed that new literature should be oriented not to personal benefits but to welfare. He clearly stated that new literature should be for the sake of humans and it needs to be directed to it. Oh Jang-hwan’s work that melted the aspects of a society with poetic materials and embodied it not as a prose but in a compressed form, in fact, required a tremendous amount of concentration. Being freed from the universal method of lyric poems, Oh Jang-hwan sought the formal frame that could embrace modern sensitivity and also the innovation of contents. It is the way of neither inserting his own feelings into the poems nor setting his own sentiment at the head. The persona hidden in the poems did show the reality of his time objectively observing it, and all that the persona witnessed formed the scenes consisting of colonized modernity. Oh Jang-hwan exposed the scenes concealed getting ruled by the notions believed to be rightful, sensible, and universal. In order to go towards the new world, it was needed to have a view to see the universal notions that were familiar and covered what were problematic with a discerning eye. The scenes that existed substantially but they were unwilling to see were made to exist by Oh Jang-hwan. What the persona in Oh Jang-hwan’s poems discovered was the world where things that were unfamiliar were blocking what were new. The hidden persona revealed these were the problematic values or notions that lived parasitically in the modern society. He found the facts, values, or notions either distorted or concealed by the familiar view and revealed them faithfully. The things captured and lined up by the persona were all synchronic realities of the time. The personas hidden inside the poems were mostly neutral and objective observers. He did faithfully play his roles in deferring interpretation about the reality of the time and showing it. The significance of this work lies in making and showing the object no meaning is given to previously and allowing us to realize the essence of phenomena. The way of showing a scene from the view point of an observer was intended to let us be distant from the phenomena and see them objectively and critically. With the viewpoint intended by him, unnecessary values or notions that were parasitic on the modern society came to be revealed. As the persona excludes his own views and maintains distance from the object, those appreciating can intervene with the contents of the work extensively. If we try to blend the scenes or situations that the persona playing roles as observers exposed continuously and consistently into a thing, we may find it is the unjust reality of the time that poet Oh Jang-hwan did confront. The loyal reproduction of it only could be done by the one that could see the reality just as it was. He made it play roles as an index that allowed people to recognize the reality, encouraged the conversion of their thinking, and led them to a better world. The work Oh Jang-hwan did with his poems to separate his empirical ego from the contents, objectify the objects or scenes and let them exist in modern space, and make them closer to the life or truth of the time was fairly unique and pioneering in the history of modern poetry. Accordingly, this author deems that we should find the value of Oh Jang-hwan’s poems from his prose poems embodied by the sight of hidden personas.