현대시에 나타난 불교의식 연구 : 한용운·서정주·조지훈 시를 중심으로 = A Study on Buddhism in the Modern Poetry
저자
배영애 (숙명여대 국어국문학과)
발행기관
학술지명
권호사항
발행연도
1999
작성언어
Korean
KDC
001.3
자료형태
학술저널
수록면
251-288(38쪽)
제공처
This thesis aims to review modern poetry considering a poetic feature of Han Young-con, Suh Jung-joo, and Cho Ji-hoon in the epistemological aspect of Buddhist consciousness. The Buddhist consciousness means general aspects of individual response on Buddhism such as Buddhist ideas and experiences appeared in three poets' poems. In this thesis, an intention to study three poets' works begins with an assumption which Buddhist consciousness affects their poetry directly or indirectly, because they are deeply connected with Buddhism.
As all poems ought to be made from a poet's own ideas, inner orders and experiences, an immanent consciousness in poetry reflects the poet's world view. Therefore this thesis analyzes three poets' works in the two aspects of a discordant structure against reality and a concord one for ideal world.
The second chapter in this thesis cites as follows: how the discordant situation against the reality is embodied by each poet who accepts the Buddhist consciousness in his poems, defining its characteristic as an affirmative response for the reality: how this expression is related with the Buddhist consciousness. The third chapter focuses how the ideal world sought by each poet is expressed in his poems, concentrating the Buddhist consciousness on a solution against the discord and a pursuit for the ideal world.
First, Han Young-oon endures his anguish by denying a parting with "Nim" (lover) and giving more affirmative meanings over death. On the basis of this consciousness is karma' and an idea which oneself and others are not separate. The parting cited by Han does not mean gloomy feeling or grief, rather than it is made to be linked to process of fervent love and waiting, and it is possible that restraint means freedom. Leaving lover is replaced by re-rneeting, which gets together with all things and realized the ideal world. Therefore a poetic narrator keeps on pursuing self-realization in order to arrive at the ideal world and to unite into one. These aspects, in Han's works, appear as poetic literature of Buddhist emancipation, not as that of traditional "Han" (恨 : hatred and grief). So the process of meeting with "Nim" is that of self-realization, and come to change into various figures. So it is represented that "Nim" gets over-layered meanings such as a symbol of hope and a way of individual existence. In such a process of embodiment is transcendence of Buddhist consciousness applied. As the Buddhist transcendence is characterized by making sense with "indirection", such as 'negative of negative' or an oxymoron. Han shows the affirmative idea for the world and the transcendence for comprehensive attitude through the oxymoron(which is mainly used).
Then in Suh Jung-joo's poetry. the physical and sensual desire and the discord are transfigured in Suh Jung-joo's poetry, the Buddhist consciousness is accepted. Such a poetic acceptance is a real alternative to work out the real discord and desire. As a poetic narrator transfigures the world of 'flower', where was the object of desire, into Seo-Youk, or Jung-To(the Buddhist Elysium), he moves up to the place of transmigration from the early burning life-recognition. To be short, Suh's Buddhist consciousness is concentrated on "eternalism" of the Shilla Dynasty. There is Buddhist consciousnes in his poems as a confrontation between physical sense and spirit, death and life keep on being focused on his poetic world, and human's life comes to be the center of the poetic change and extension. Therefore human's death means not an abandonment or a despair, but a change up to the holy place, and it is possible for the departed to appear as main characters of the poetic world. In the result, the world of death reconstructed in Suh's poems means the eternal transmigratory life in Buddhism, and a semantic integration is accomplished as a sign implied by a poet in a poem. Accordingly, as human's birth and death turn into qualities of myth composing a' set of Buddhist consciousness, they are embodied as implied meanings, that is, universal cycle of time, and life and death.
For Suh, the Buddhist consciousness as a storage representing the world experienced by him is motivated into a meaning of the real discord and integration, and it forms a inner meaning, The Buddhist consciousness on the bottom of changing poetic world makes Suh overcome his instinctive desire and discord, and gives spirit tranquillity to realize the ideal which is searching hometown and life-archetype. According to this fact, forSuh, the poetic acceptance of Buddhist consciousness means one of ways inquiring profoundly for his own existence.
Expressed into Heaven like Seo- Youk, or Jung- To, the Buddhist consciousness shows a range of transmigratory lifes in Suh's poems. This means the trial to search his own self, life-archetype, and the desire to imitate universal order. He tries to explain the principle of the universal order, that is, cycle of nature and that of human's life and death in the same structural dimension. So his poetry is characterized by correspondence and repeat, and an aspect of transition toward the opposite world appears. Such a characteristic of poetic expression gets an order changing into a ring of Buddhist transmigration.
Last, Cho Ji-hoon, also, embodies a discord of those days and negative consciousness which an intellectual could have under the rule of Japanese imperialism through the process of "appearing and disappearing", and responds to the reality. Although all these aspects do not begin from the Buddhist consciousness, it is Buddhist. at least, for poetic narrator to overcome the discord and to embody this. Cho's poetic expression does not aim for only nature, but an union between the nature and the self arrives at a stage of the "meditation"(禪) through the aspect of Buddhist emancipation, not through an usual aim for nature. The nature in Cho's poems is the object to symbolize simplicity rather than the nature of Do-Ka(道家) to be free and easy, and is the object of the secondary spirit world, too. Therefore his poetic world is more 'complicated aspect, the stage of the "meditation" rather than a structural ornament. This "meditation" means the phase which the border of everything disappears, and it is represented simply and shortly into the ideal world where is no pain, and no thought or no idea. The world represented with this way, however, overcomes the actual limit with 'minus-device' which has a simple structure but can respond to each different reality, and keeps a lot of implied meanings. First of all, Cho's Buddhist consciousness, however, stems out of an affirmative recognition. The principle of poetic structure pursued by Cho is the world of the "meditation", where a leap and an imagination are enabled. For Cho, this "meditation" is the process of the indirection and the center of the poetic structure. He realizes the "meditation" in his poems through the nature, but he does not just duplicate the nature, but arrives at the stage of "the meditation" showing a Buddhist emancipatory process. Accordingly, it is explained that his poetry is not understood as only the nature of Do-Ka, rather it is affected from the Buddhist consciousness accepting reality and being affirmative about it.
Now the Buddhist consciousness, for three poets, has influence, directly or indirectly, upon representing the poetic theme and the poetic form as a catalyst and a mechanism of expression laid on a basis of verse. It is a mechanism which responds to an era, and plays a role as a prospect and a vision for the future, too.
Han converts a parting into a meeting, Suh gives life to physics and sensuality, and Cho converts loneliness and anguish into tranquillity and stability. It is clear that three poets uses the Buddhist consciousness as the catalyst in order to sublime the risk and the discord of those days and to aim for a new ideal world. Therefore the Buddhist consciousness represented by these poets is not accepted as a technique for a time, but· appears as depth of poetic immanence, an awe for life, a generous attitude and an affirmative recognition about the life.
To be short, Han's poetry can be summarized to. "united poetry", Suh's to "transmigratory poetry", and Cho's to "Buddhist emancipatory poetry". Although this Buddhist consciousness is different from the time and the way of poetic acceptance, it is embodied as a way overcoming tragic reality, an alternative principle and a way searching self-realization and life-archetype.
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