Earticle

본 연구의 주된 목적은 예이츠와 엘리엇의 시적 자아가 추구하는 최종 목적(방향)을 찾아보는 것이다. 그 목적에서의 차이를 발견함으로써 시적 자아의 이상향을 찾을 수 있다는 것이 본 연구의 장점이다. 그 결과 예이츠는 시적 자아의 “개인적 해방”을 추구하는가 하면 엘리엇의 경우“자아비우기”를 통해 절대자 수용을 강조한다는 점을 알 수 있었다.

This essay looks into the poetic self as realized in Yeats’s and Eliot’s poems. Both poets want to swerve from the present condition/ status. But there is a difference between them: Yeats’s poetic self wants to be liberated from our present being while Eliot’s hopes to confronts God by negating “self.” In general Yeats tends to depend on the descriptions of the natural world while Eliot deals with the abstractive ideas.

이 논문은 인도출신 작가들과의 교류를 연구하여 인도철학과 문학이 예 이츠에 미친 영향을 다룬다. 인도철학에 관한 예이츠의 생각은 모히니 차터지, 슈리 푸로힛트 스와미, 라빈드라나스 타고르, 등 3명의 인도 사람들과의 관계를 보면 알 수 있는데, 그의 『자서전』을 포함하여 그의 많은 작품에 잘 드러나 있는 것처럼 그의 자 아의 형성에 기여한다. 예이츠의 『환상록』은 인도의 신지론자 모히니 차터지의 영향하 에 그의 인도철학의 수용을 아주 잘 보여주는데, 『자서전』에서 어떻게 예이츠가 그를 처음 그와 인도철학을 접하게 되는지 이야기한다. 『지탄잘리』 서문에서 예이츠는 라빈 드라나스 타고르의 벤갈어 시의 산문번역은 수년간 어느 것 못지않게 그의 피를 끓게 했다고 말한다. 「아나슈야와 바자야」, 「인도사람의 신에 대한 생각」, 「인도인의 사랑에 대해」, 「메루」 같은 예이츠의 시들은 인도지식의 체계의 영향을 보여 주며, 그의 산문 의 상당부분의 이면에도 인도철학의 강한 영향을 보여준다.

The paper examines the impact of Indian philosophy and literature on Yeats and his poetry surveying his interactions and involvement with the Indian men. Yeats’s interest in Indian philosophical thoughts can well be understood by looking at his strong relations with three Indians, Mohini Chatterjee, Shri Purohit Swami, and Rabindranath Tagore, whose contributions in the shaping of his self are well documented by Yeats himself in many of his writings including his Autobiographies. Yeats’s A Vision very clearly shows his reception of Indic mysticism under the influence of Indian theosophist Mohini Chatterjee, recounting how he first met him and Indian philosophy in his Autobiographies. Yeats notes in his introduction to Gitanjali that Rabindranath Tagore’s prose translations of Bengali poems stirred his blood as nothing did for years. Yeats’s poems, such as “Anashuya and Vijaya,” “The Indian Upon God,” “The Indian to his Love,” “Meru” demonstrate an influence of Indic knowledge system, and there is also a strong undercurrent of Indian philosophy in much of his prose work.

‘신비주의’라는 용어는 인간과 신, 자연 사이의 관계와 관련된다. 그것 은 자연 세계 이면에 존재하는 신성을 인식하고자 하며, 이와 같은 의미는 신비적이 고, 초자연적이며 상징적이다. 예이츠는 철학적이고 영적인 표현을 위해 초자연적 요 소들을 활용하였다. 그는 신화적 시와 전설에 의미를 부여하고, 재창조하는 수단으로 신비주의를 사용하였다. 예이츠는 아일랜드의 이교 전통에서 신비로운 분위기를 불러 일으키고자 했으며, 이는 그의 무의식 속에 자리한 신비주의적 성향에 대한 내면적 욕 망과 맞닿아 있다. 예이츠는 왕권의 신비주의적 책무를 무거운 짐으로 여기며, 그것을 이교적 자연의 소박한 즐거움과 비교하였다. 그에게 있어 신비로운 저녁은 더 큰 즐거 움을 안겨주는 시간이다. 그는 자연과의 연관을 신비로운 체험, 그리고 이교적 자연 사유와 결부하였다. 예이츠는 자연의 환상성과 초자연성을 위대하고 찬란한 측면으로 받아들였으며, ‘소용돌이치고 방황하는 불꽃’과 같은 자연의 이미지는 그의 시적 여정 을 위한 신비적 패턴을 제공해주었다.

The term mysticism is associated with man’s relation with god and nature. It aims at identifying divinity behind natural world. Such significance is mystic, supernatural and symbolical. The supernatural elements are touched upon by Yeats for his philosophic and spiritual expression. Yeats used mysticism as recreational and giving significance for his mythical poems and legends. He wished to generate the mystic ambience from Irish paganism because mystic poetry provided inner relations for his unconscious aspirations for mystic disposition. Yeats weighed comparison of mystic disposition of onus of kingship as burdensome against rustic pleasures of pagan nature. The mystic evening is more pleasurable for him. Yeats associated with nature with mystic experience and pagan thought of nature. Yeats aligned with nature’s fantastic and supernaturalism as an immense and glorifying aspect. The images of nature are mystic whirling and wandering fire’ that provided patterns for his poetic journey.

본 연구는 비평가로 알려진 소천 이헌구의 시인으로서의 면모를 파악하고자 하는 연구의 일환으로 지금까지 다루어지지 않았던 시와 관련된 이헌구의 자료를 통해 이헌구의 삶 속에서 ‘시’가 가진 의미는 무엇이었는가를생각해 보고자 했다. 이헌구는 어린 시절 종형인 이한구를 통해 문학의 꿈을키우며 상경하였고 소심한 성격으로 인한 불안감과 고독을 보성고교 시절한시 번역을 통해 극복하고 자신감을 얻게 되어 문학인의 삶을 결심한다. 이쿠타 슌게쓰의 시론에 영향을 받아 시를 인격의 산물로 인식했으며 일본유학 시기에는 스승인 사이조 야소가 주재한 잡지에 일본어 시와 조선 시단을소개하는 글을 발표하며 시작 활동을 펼친다. 본 연구에서는 기존에 알려지지 않았던 자료로서 일본에서 신인 시인으로 잡지『밀납인형(蝋人形)』에 발표한 시 2편과『애송(愛誦)』에 게재한「조선시단관(朝鮮詩壇觀)」을통해 식민지 조선인 유학생의 현실에 대한 고뇌와 사랑을 살펴보고 시를 통해보여 주고자 했던 이헌구의 문학적 정체성을 확인하였다. 그러나 그의 시에대한 주변의 비평적 충고 그리고 스스로 느끼는 존재론적 고독과 무력감이 맞물리면서 시 쓰기에 대한 심리적 부담은 결국 시인의 길 대신 비평가의 길을걷게 된다. 즉 그가 평생 언급해 온 ‘고독’과 ‘외로움’은 시를 통해 사람들과소통하고자 했던 이헌구의 삶 자체가 시에 대한 갈망과 좌절에 기인한다고보았다.

This thesis examines various aspects of Lee Heon–gu’s poetic identity, mainly known as a critic, by analyzing his existing poems, essays, and diaries. Influenced by his cousin during childhood, Lee Heon-gu nurtured literary dreams and moved to the capital city. During high school, translating Chinese poetry boosted his confidence, helping him overcome the anxiety and loneliness stemming from his introverted nature and ultimately nurturing his aspiration to become a writer. In- fluenced by Shunketsu Ikuta’s poetics, he became aware of poems as a product of his personality. During his studies in Japan, he published two poems in the magazine“Ron- ingyo(蝋人形)”, edited by his mentor Saijo Yasō, and contributed“The Current State of Korean Poetry” to “Aizu(愛誦)”. Through these works, He sought to reveal his literary identity through poems depicting the reality and suffering of Korean students under colonial rule, as well as confessions of love. However, crit- ical advice from those around him and psychological burden of writing poems amplified by his existential loneliness and helplessness eventually led to his path as a poet to become a critic. In other words, the“loneliness” and “isolation” he mentioned throughout his life stemmed from the nature of Lee Hyun-gu’s exis- tence itself, that is, his attempts to communicate with people through poetry, his longing for poetry, and his resulting frustration.

本研究は、批評家として知られる李軒求の詩人としての側面を把握す るために、李憲求が残した数少ない詩と随筆集や日記などから李憲求の 詩に対する認識と欲望、そして挫折に至る様相を考察した。李軒求は幼少 期、従兄の影響で文学の夢を育み上京した。内気な性格による不安感と孤 独を、普成高校時代に漢詩翻訳を通じて自信を得て克服し文学者の道を 志す。生田春月の詩論に影響を受け、詩を人格の産物と認識し、日本留学 期には恩師である西條八十が主宰する雑誌に日本語詩と朝鮮詩壇を紹介 する文章を発表するなど詩作活動を展開した。日本で新人詩人として雑誌 『蝋人形』に発表した詩2編と『愛誦』に掲載した「朝鮮詩壇観」を通じて、 植民地朝鮮人留学生の現実と苦悩そして、愛の告白など、詩を通じて示そ うとした李軒求の文学的アイデンティティを確認した。しかし、彼の詩に 対する周囲の批評的助言と、自ら感じる存在的孤独と無力感が相まって、 詩作への心理的負担は結局、詩人の道ではなく批評家の道へと彼を導く。 すなわち、彼が生涯にわたり言及してきた「孤独」と「寂しさ」は、詩を通 じて人々と交流しようとした李憲求の人生そのものが、詩への渇望と挫 折に起因すると見なした。

Yeats remarked, two years before his death, that it is the poets’ first business to describe desirable persons, desirable places, and states of mind. One of theses excellent persons and places in Last Poems―ascetics and the “half-way house” the Chinamen of “Lapis Lazuli” climb towards. Here we notice how many topographical associations lay everywhere: “the mountain,” “Alt” and the central character climbing some high point. Having lifted himself to the vantage point of age, Yeats is able to form a final altitude. The last poems are mainly set in the location of the open field, that dominates the poetic landscape. ‘The whole system’ of A Vision ‘is founded upon the belief that ultimate realit y…falls in human consciousness into a series of antinomies.’ Since he had long arranged his thought and disciplined his imagination by ideas of antithesis, it is natural that his later work should play out an extended series of oppositions: knowledge and ignorance; day and night; time and eternity. In the process of consciousness they have a tendency to be separated from each other into various sets of the opposite; while their attendant logic characterizes a struggle towards harmony. ‘Logical and emotional conflicts alike lead towards a reality which is concrete, sensuous and bodily.’ “Meru” invokes an image of human being in conflict with the cyclicity of a cosmic rhythm. Yeats, identified with the oriental hermits in the ascetic attitude to life, sees “the naked bodies” to awake to the realities of life, he is reassured that the higher perception should be gained through their sensuous experiences in the darkness of night. According to St. John of Cross, ‘the nature of the soul requires complete renunciation of the world.’ The darkness brings wisdom, emptiness sight. Yeats would describe it as ‘the luminous dark.’ This implies in ‘via negativa’ that one is nothing, paradoxically, to become everything. The open region for everything is the place Heidegger called ‘clairiēre,’ which Yeats would like to paint in his poetry. Its openness let brightness play with darkness in it. The relation to light and darkness characterizes as ‘a double’ like the dawn image. This curious relation Adams claims to name ‘identity.’ Identity has the same form, as does a metaphorical trope, where sameness and difference coexist in language. He would write a poem ‘cold and passionate as the dawn.’ The important metaphor, which Yeats uses to describe the intersection of the two worlds, is that of dawn. In this paper I was concerned with both the realm where religion, art, personal consciousness converge and the place in which gathers and protects everything. Yeats was life long a man who practiced both absolute integrity of craft and perfection of personality, the perfection of its surrender. I take poetry to be an exploration of human consciousness, where it faces time and eternity in their play. Equally it is an exploration of words.

Though all of the poems including Yeats’s Last Poems were written during the last years of his life, the remarkable vigor of thought and of imagination, which increased with the poets’ years, is shown here once more. However, compared with the powerful impact of The Tower and The Winding Stair, the accent of their nonchalant freedom and more colloquial style was one principal source of the reviewers’ dissatisfaction. And T. R. Henn suggested that we should perceive the philosophical and satirical implications behind so many seemingly personal poems, even in the accent of lust and rage of the Last Poems. The primary concern of philosophy is the problem of the self, while the philosophical implication of Last Poems is the self itself. Yeats’s final aim in writing poetry is the perfection of the life and of the work in the process of creating the true self. In his last letter he said, “man can embody truth but he cannot know it, but he must embody it in the completion of his life.” In this sense, the life itself is the total work of art, the completed symbol. When he elucidated that he would write a poem “cold and passionate as dawn,” the pregnant word “dawn” is to be the completed symbol of the work of art. This passage concerns those transformations which are endemic to art. The prime idea must be that necessary infusion of joy in the most tragic contents - the incoherence of the actual life and the limitation of human life. It is the poetics of his itself which achieves “the dawn,” the twilight zone of the darkness of night and the light of day. Yeats found that his place could be the trysting-place of the extremity of sorrow and the extremity of joy, the perfection of personality, and the perfection of self-surrender, passion, and stillness. “Lapis Lazuli’s” “Black out: Heaven blazing into the head” means that the dark grow luminous while the void fruitful. Yeats wrote, “when I understand I am nothing and nobody” through the state of darkness, . . . there must be the dance at the trysting-place or at ‘the clearing’ Heidegger might coin, in the mingling of the contraries. The nobleness of art exists in playing together the contraries. Where all the contraries can play together, the dawn will break. As Yeats can embody the truth, his form of self-conquest should be achieved through the self-surrender and the transformation endemic to art.

본 논문의 목적은 예이츠의 후기 시에 등장하는 시적 자아를 통해 예이츠가 자신을 환시하는 태도와 이를 통해 현실에서 발생하는 갈등을 처리하는 태도와 방식을 살펴보는 데 있다. 예이츠는 시에 등장하는 화자간의 분리나 화자 내면의 갈등을 조장하는 가운데 시적 자아를 드러내며 그 갈등을 해결하는 과정을 통해 자신과 주변을 환시하고 있다. 자아의 이상적 실체를 현실에서 추구하고 있는 예이츠의 시적 자아는 현실의 삶이 지닌 시간과 공간의 한계에 놓인 인간 조건에서 느끼게 되는 삶의 비극적 상황을 인식하고 상상력을 통하여 비극을 기쁨으로 전환시키며 비극적 현실을 수용하는 가운데 그 속에서 기쁨을 찾는 것으로 종결된다. 모든 운동의 방향은 반대 운동의 역방향이며, 한 운동의 힘은 반대 운동의 쇠락을 전제로 한다는 예이츠의 시적자아는 현실의 비극 속에서 기쁨을 향유할 수 있는 “비극적 기쁨”(tragic joy)을 통해 자아 내부의 갈등을 해결한다.

The paper is to study the poetic self in Yeats’s later poetry. Yeats dramatizes internal conflicts of the self fighting with the other self. He has not created a single unified image of character in his poetry. He has tried to consciously express the polarity of the self by projecting dual characteristics of being through the poetic self. The poetic self in his poetry is the self who is transformed and developed through the conflict accepting the reality of human nature. Looking over the whole of human life and its prevailing desolation, the poetic self tries to find the proper response to life and suffering in terms of “tragic joy.” The poetic self created by Yeats has got around the conflict through a positive response to life in all its tragic aspects.

Yun, Dong-ju’s ‘serial self-portraits’ and the growth of poetic consciousness Ryu,Yang-seon This article views Yun, Dong-ju’s poems, i.e. ｢Boy｣, ｢Self-portrait｣ and ｢Map of a snowy day｣ as ‘serial self-portraits,’ regarded them respectively as a past-oriented self-portrait (｢Boy｣), the self-portrait of the present (｢ self-portrait｣), and the future-oriented self-portrait(｢Map of a snowy day｣), and investigated how the consciousness of the poet grew. As a result, it was revealed that from ｢Boy｣ and ｢Self-portrait｣ to ｢Map of a snowy day｣, the consciousness of the poet grew along the following path ‘despair of the times → doubt about religion → restoration of religion → overcoming of the despair of the times.’ These three ‘serial self-portraits’ were written everytime when the consciousness of the poet reached a point where a certain qualitative change or leap is required in the dark age around the end of the Japanese colonial rule. As the poet regarded establishment of self-identity as the most important task, the ‘serial self-portraits’ was created in the process of this very bitter struggle with himself. Accordingly, the poet’s will not to be buried in the times along with the deepening consciousness of the darkness of the times finds expression in these poems. Also, the ‘serial self-portraits’ clearly shows how the spirit of martyrdom 윤동주의 ‘자화상 연작’과 시정신의 성장과정․347 of the poet, who walked the path of death cleaving the darkness of the times, was formed. They resulted from honest self-examination that transparently stares at the inner side all the time. The path of pure sorrow appearing in ｢Map of a snowy day｣, the last of the ‘serial self-portraits,’ was none other than the path of martyrdom in preparation for the ‘Cross.’ While writing the ‘serial self-portraits,’ the poet never wavered in determining the direction of an upright life that will never depart or deviate from such a path of martyrdom.