藝術家의 自我 認識 - 『花蛇集』 시절의 未堂
A Self-consciousness of Artist - a case of Midang in 『Hwasajip』
Midang shows us an interesting self-consciousness in [Hwasajip], which published in 1941. There are three kinds of self in the 24 works of [Hwasajip]. The first one is that rejects conventional order, value, moral and be worked by basic instinct. The self in 〈A portrait〉 is typical of this kind. The second one is that obeys conventional order and traditional value instead of being driven of an impulse of dark desire. The self of 〈A poem of Sudaedong〉 and 〈A post card〉 is typical of this kind. The first usauly conflict with the second. The third one is that feels anxiety on the first self who has anti-social and destructive impulse. But he can not control the first self. The self of 〈An owl〉 is typical of this kind. In this poem, the persona is the third self and the owl is the allegory of the first self. These three selfves seem to be related with id, ego, superego. The first self pursues basic instict regardless of taboo with the energy of Libido. The second self is trying to pay regard to social value and moral. He is a moralistic self. The third self has self-consciousness and is trying to keep the balance between another two selves. The major attraction of [hwasajip] is the strong romanticism pursued by the first self. But it can be said that another two selves give [hwasajip] a proper form and some metaphysical depth. The self-consciousness in [hwasajip] seem to be the first kind of that in Korea literary history. That is a considerable achievement in literature as well as an important element of modernity of [hwasajip].
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