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A Study on Kim, Gwang-Gyun’s Poetry - Focusing on Formation of Images

Park Min Young 1

1성신여자대학교

ABSTRACT

‘Thoughts of Forms’ Kim, Gwang-Gyun mentioned in his “Considerations on Lyrical Poems” can be understood in association with formation of images as the keyword that implies the Kim, Gwang-Gyun’s poetics. This study examines mental landscape and urban life expressed through formation of images in terms of three composition techniques of organizational patterns of metaphors,reproduction of senses, and distance from objects. Chapter 2 addresses the organizational patterns of metaphors. Metaphors are representative forms of the images in Kim, Gwang-Gyun’s poems. As in “Lyrical ballad on an Autumn Day,” the poet successfully delivers his sentiments by connecting the tenor of nature with the vehicle of objects related to urban life. Chapter 3 examines the reproduction of senses. It is mainly expressed through visualization in Kim, Gwang-gyun’s poems. For example, in his poem “Reflections on Sunflower,” the poet reveals his inner world by changing idiosyncratic colors of things. The white and blue in the poem are actually decolorized or discolorized colors, which symbolizes the poet’s wounded heart. Tactile images are represented synaesthetically in combination with visual or auditory images. The “cold lights” in “Street Lamp” is the example. Chapter 4 deals with the distance from poetic objects, especially in the poem, “A Poem on a Snowy Night.” The persona’s sight expands from close-range landscape to a little distant landscape to very distant landscape. The persona’s thought is projected to very distant view and returns to the internal landscape. In this poem, Kim, Gwant-Gyun eliminates the distance between the subject and object by projecting the persona’s mind to the distant landscape. Likewise, Kim, Gwang-Gyun utilizes images as a tool to deliver his sentiments and sensibility. He effectively expresses his sorrow and sense of loss in images by using metaphors, representing senses through synaesthetic expressions and eliminating the distance between subject and object. These characteristics distinguish Kim, Gwang-Gyun’s poems from Western modernist poems that emerged from the conflicts from ideas and sentiments. However, Kim, Gwang-Hyun’s limits as modernist poet can be accounted for as those of Korean modernism in the 1930s. Though Kim, Gwang-Gyun failed to be an authentic modernist poet from the standards of Western modernism, he tried to develop his simple poetics, ‘thoughts of forms,’ in his work of forming images. His trial to express sentiments of sensibility and sentiment of sorrow through formation of images should be given a credit for his unique poetic characteristics as a Korean modernist poet.

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