주지적 태도에서 '思無邪'까지 - 鄭芝溶 詩를 위한 한 시각
A Perspective on Ji-Young Jeong's Poetry
As it is well-known, Ji-Yong Jeong is a poet who opened a new horizon in our modern poetry. Since he started a literary career in late 1920"s, he became famous in and out of the literary circles. When he first published his poems, there were two kinds of the prevalent trends of literature in those days; one was following western Romanticism and the other was so-called KAPF (Korea Artista Proletaria Federatio) literature. The poems of the former were just a mimic or a merely superficial reception of western Romanticism, which reflected a fin de siecle mood. Therefore a large number of them at that time included abrupt, unreasonable exclamation and uncontrolled sentimentality. On the other hand, the followers of the latter, i.e. poets belonging to KAPF, thought of the purpose of the literature as explaining their ideological concepts and attitudes and expressing their code of conduct. Confronting these confusions, the poems of Ji-Yong Jeong showed a brand-new style of poetry and achieved a marvellous artistic level, which supplied a kind of refreshing air with the literary circles in that time. This research explains the literary trends of Ji-Yong Jeong by dividing his works into three periods. The first period is characterized by his intellectual attitude, emphasized by the British-American Imagism. During this period, his poems express “physical poetry” through a remarkable use of sensitive poetic dictation and rhetoric metaphor. The works from the mid period portrays the poet"s religious concerns, based on Catholicism. Ji-Yong Jeong focuses on the spiritual search, which did not appear in the early period. In the last period, his works express the concept of 'sa-mu-sa,' lack of wickedness in thought, which has been the pivotal concept in the Eastern classical poetry. With the emphasis on symbolic conciseness and beauty of purity, the poems express a desire to reach the higher standard of spiritual purity in midst of the corrupt reality. As a last note, this research indicates there need to be efforts to correct the unjust misunderstanding of Ji-Yong Jeong"s poem as pro-Japanese works.
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