素月詩의 話者 硏究 = On the Patterns of Personas in So-Wol's Poems

다국어 초록 (Multilingual Abstract)

This study is to intended to analyze all of the personas in the poetry of Kim So-Wol in patterns according to their sex and to examine how they choose their poetic objects, times, spaces, tones, forms, and stanzas with lines and foot-meters to find some new poetic rhetorics of his as well as to set up a kind of narratorlogy of So-Wol's after reviewing all the discussions ever made about him. It is because that each persona in every poem plays not only the part of intermediary to show some poetic situation or some views to readers but also adapt himself or herself to every situation, choosing proper forms and tones according to the poetic emotion as soon as he or she is created by the poets. The term of persona used in this study may be the same meaning as a narrator or a speaker or a mask at times.
Through the close examination the following facts were ascertained in all the works of Kim So-Wol.

1. In his poetry, three types of personas such as male, womanish (or only masked as a woman) male, and female personas are found in the ratio of 3:3:4, and their poetic objects can also be patterned into three types such as the poet's father-land deprived of by Japanese imperialism, or the sweet heart now departed far from him or her, or some ideal lovers whom can not be seeked for by the people of this mundane world. And so they have a distinguishing features in common that they are all the objects which are not real in their true existence, Therefore the remarks ever made about So-Wol's poetry that he has no male persona or he has inadequate understanding in the realities of actual life, can not always be right and just.

2. The time situation that each type of persona takes up in So-Wol's poetry also has obvious distinction to one another. Male-persona always appeares in the time situation of bright and the womanish male-persona does in that of darkness, while the female-persona appeares in the unspecified time situation in which she is confined to some assumption or some conditions or even the image of time itself has been eliminated. Closer reviewing in those aspects of the time situations shows the characteristics that there's never the intentional future as well as described in negatives.

3. Each persona, self-closed as mentioned above, has affection and yearning for each object while indignation or resistence to each obstacle, and has also some emotion of self-accusation for the ego of himself or herself which can not be got over, but according to the peculiar relations among the personas, topics and the listeners, The male-persona usually takes the pathetic tone of tragic, the womanish male-persona takes, the tome of longing with thirsty, while the female-persona usually takes the tone of paradox in which the surface and the depths of statement are possibly opposite to each other.

4. According to these differences, the inclination is generally found in So-Wol's poetry that female-persona often takes a set- form of poetry containing four stanzas with lines in three-footed cumulative, and the womanish mals-persona takes the unstanzaed form with less than tow lines, mixed with two or three footed meters, on the other hand, the male prsona chooes the form of free verse with more than three stanzas. But it seems that in the unspecified situation of time they all alter into the form with lines in three-footed cumulative.

5. Examining the meanings and their realization into poetic forms, in the case of male-persona and the womanish male-persona, the poems do not make any success because of the confusion of the poetic imaginations as well as the lack of controling forces in whole as they are in free verses, but in the cases of female-personas or of the unspecified situation of time, the poems usually make greater success with the organic combination of four stanzas containing four (or two) metered lines with three-footed meter cumulative, as well as the intensive structures of the four steps in writing (the introduction, the development of the theme, conversion, and summing up). Especially, combinng a female-persona with three-footed meter cumulative makes the poet effect much more greater with all the double function of such footed lines in good accordance with the persona's character.

목차 (Table of Contents)

• Ⅰ. 序 論
• Ⅱ. 話者의 세 類型
• Ⅲ. 세 話者의 '님'의 正體
• Ⅳ. 話者에 따른 詩型의 選擇
• Ⅴ. 結-素月의 意識構造