1930년대 후반 임화 시에 나타난 ‘시인’의 표상과 비극적 운명론의 문제

Abstract

Of the late 1930s' Korean modern poems, some expressed the poetic subject's ethical self-reflection and the moral consciousness by representing the poet's fate. This article aims to investigate moral consciousness and ethical authenticity that Im Wha, the representative poet of KAPF, tried to reveal in his poems. For this purpose, this article focused upon the poet-image and the various aspects of fatalism in his poems. In Im Wha poetry, the fatalism appeared in various aspects. In the period of KAPF's dissolution, he would describe his own tragic fate. He was to face with the crisis of subjet-deconstruction under the circumstance of Japanese colonial oppression. At that time, the poetic subject in his poems assumed an image of dwarf and an impotent self who shrank from the fascistic reality. However, In his "Hyunhaetan" poems, Im Wha with the viewpoint of "Romantic Spirit" could describe the positive fate of "the youths(靑年)" who had gone overseas with a great ideal. But, as he was unable to overcome the pressure of fascistic realty any more, he wrote poems like "the song of microplasia(侏儒의 노래)" by using the rhetoric of irony and paradox, which he tried to satirize his own situation and the contemporary social conditions. In the late 1930s, Im Wha returned to describing the tragic fate of 'the poet' who could no longer announce his political conviction and anti-Japanese ideology in his poetry. Describing the poet's tragic fate was the only way to the authenticity of 'poet' who would trace the spiritual path instead of the bodily path. By tracing the spiritual path, Im Wha could reveal the authenticity of inner moral against the pseudo-Sittlichkeit, in other word the collective ethic of Japanese Imperialism. Through the paradoxical image of "the poet of the Night", Im Wha could put up with the tragic realty and keep his "writing poetry as the other." But, in the poem "After awakening(자고새면)", Which became his last work of the colonial period, he revealed his own tragic fate with an ironical and paradoxical voice to protect "Poet's Moral." By giving up his own position as a poet, and by ceasing 'writing poetry' in the fascistic realty, Im Wha could announce paradoxically his moral rebirth as an ethical subject and complete his authentic "poet".