박용래 시의 자연물과 시세계의 원천

초록

The main purpose of this article is to examine the natural objects mobilized in Park Yong-rae's poems and the sources of his poetry. Specifically, this article focuses on the significance of all three poems published before Park Yong-rae's debut of literary career and what the characteristics of his poems expressed by taking natural objects were, and also briefly looks at the sources of his poetry. The three poems before his debut were works that contained all the characteristics of Park Yong-rae's poetry. His poems were created by taking rural and local natural objects, so they were rich in rural and local colors, and were created according to the ‘depictive’ method of poetry writing. In addition, they were poems embodying hometown consciousness, one of the sources of his poetry. His poems, which were created by the ‘depictive’ method of poetry writing that emphasizes the pictorial image of natural objects, resulted in objectification of the speaker, and thus the speaker's emotions were not expressed outwardly through the so-called process of ‘self-destruction.’ His poems are evaluated as distinct from those of the existing Western modernistic character in that nature depicted in his poems is rural and local nature. Also, his poems have a critical character of reality that is not isolated from reality, given that natural objects in his poems are our 'natural objects in our lives.' In addition, Park Yong-rae's poem inevitably took the form of a short poem because he wrote poems by taking natural objects. All of the above characteristics are derived from the manner that Park Yong-rae consistently took natural objects, which also serves as an advantage and disadvantage of his poetry. Meanwhile, the hometown consciousness and sorrow and longing for his deceased sister, which he perfused in his whole literary career, have become the source of his poetry. Park Yong-rae was a distinctive and unique lyricist who created poetry in his own way by taking persistently rural and local natural objects.

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