사랑과 실존의 내면풍경-林徽因 시 읽기

Abstract

Though Lin Huiyin(林徽因) is well known as an architect and poet,it seems that her poetry has not been fully evaluated. At first she wrote romantic love poems, but later her poetical style changed with having access to studies of old architecture and Modernism. This study classifies themes of her poetry into love, history, death, and reviews its change from Romanticism to Modernism and her awareness of life. Part One examines how she first wrote poems during recovering from pulmonary disease at 香山 and contains the characteristics of her romantic love poems. In these poems focused on her personal experience,she indicated memories of the love with a poet 徐志摩, concealing and inner confession through many nature's images such as a boat, the night sky, a mast, the sun, the star, a flower. After his death, however, she expressed the truth and memories of love boldly by making use of symbol and image getting out of hesitation and concealment. Part Two looks over her turning to Modernism from Romanticism focusing on poems written in 1933-37. She participated in a magazine New Poetry<新詩> and played the role as the hostess of literature salon,where temporary Beijing intellectuals got together. She was deeply involved in Modernism as shown in Beijing School 京派 which describes city and anxiety about life. Making use of such images which represent history and time as the street, the twilight, the sand wind, the chimney,the sound of a bell, a fort, she combined city-criticizing modern consciousness with bitterness of traditional times. She got a deep philosophical meditation about history and time traveling many places to study ancient architecture with her husband 梁思成. Part Three explores the inner awareness of the poet who faced disease and death wandering through 昆明 and 四川 after the Chinese-Japanese War in 1937. She represented despair, depression,loneliness with such images as the setting sun, a lamp light, fallen leaves, graves, six o'clock, the window. Having faced her own death through experience of surgery, she showed the process where an inquiry on death and nothingness sublimates into deliverance and forgiveness in the poems written in Beijing, in 1947-48. Confronting reality and pain boldly in every single moment of her life, she displayed her inner frankness and sincerity truly in her poems. So it is not surprising that her poems are highly ranked despite their small amount.