석정 후기시의 상징과 현실 응전의 방식

Abstract

This paper is to explain the sense of reality working based on the orientation toward the reality and the symbolic images of 'mountain' and 'bird'. Conscious orientation to the target selected by the speaker says that the image is perceived in a way which is evident by watching where the author works is the same. At this point the 'orientation' is the inner consciousness to explain in relation to the target and to try to understand it. Seokjeong is the poet who recognizes the location and orientation of objects and states of consciousness differently, depending on the destination of your own mind and who shows the extreme point of his own mental world. Seokjeong's poems whose motif is 'mountain' gush out the willingness to overcome the reality of the situation in the later poems through 4.19 revolution. In the 1960's when he exposed the chaotic social situation sacred 'mountain' of the space perception of reality is manifested by a sense of history is the place where exposes the perception of reality by a sense of history. He clearly shows the sense of history to embrace history condensing the consciousness of poems of protest as a living proof of the history. Therefore, in this period, 'mountain' is functioned as the place of practical justification based on compassion awareness overlooking a positive future advocating practical justification which was built in the middle period of his poems. While 'mountain' in Seokjeong's poems reveals itself as a divine world contemplating history, 'bird' is space-oriented rather than containing the negative image to transcend earthly resurrection. This can be Seokjeong's poems as the essence of earthly life is placed in the center is a feature. The negative elements of the earthly life cannot overlook the tragedy to a sense of transcendence-oriented rather than from the darkness, death and hell, such a paradoxical sense context is taking mingle. Because emergency rather than vague terms of earthly life, embracing also willing to overcoming the limits of reality. In Seokjeong's poems if 'mountain' is revealed as divine world contemplating history, not as the wold of self-escaping, whereas the emerging 'bird' dreams of earthly resurrection rather than transce- ndence with negative images. Therefore, the poetic self build making a strong resolution of history through 'mountain' while building self left to the subjective manner in compliance with God's order to reveal the 'Birds will voluntarily accept the eunuchs, barren real space coexistence, while the living space as a host of subjective willingness to participate in its true sense to express the spirit Seokjeong's own personal symbolism that is significant in that building.