This study examines the relationship between celestial images and trauma, which often appear in Heo Su-gyeong's poems. Heo Su-gyeong's poems are a complex of numerous wounds. These wounds form an implicit relationship from celestial images and dark images in poetry. This means that it is in a close relationship with the poet's poetry consciousness. Trauma destroys the safety net of existence. In addition, trauma is a fundamental human way of being that cannot be fully healed. Poets consciously or unconsciously expose trauma in poetry. Therefore, for poets, poetry creation is an ejection of mental wounds. At the same time, the poet's poetry writing is a process of healing wounds in memory by recreating trauma. The imagery of celestial images that continued to appear in Heo Su-gyeong's poems can be said to be an aspect of the defense mechanism for the poetic subject, who is not free from deficiency and wounds, to overcome trauma. Heo Su-gyeong's poetry embodies not only personal trauma, but also wounds and pains revealed in the history of violence and conflict. Personal trauma and community trauma are combined with celestial images, which is noteworthy. It examines the contact point between these two trauma and healing and recovery.
In order to heal the wound, the will of the subject of experience to recover is required. Revealing the poet's wounds includes the meaning of healing. Personal trauma and human community trauma embodied in various aspects are also poems that reveal wounds that contain healing emotions. Poets study excavations in other countries, face long history, and witness wars all over the world. Beyond the pain of 'I', they show more compassion and empathy for the pain of the other. Among them, I was able to confirm the poet's unique perception and sense of the pain of the other. After Heo Su-gyeong's third collection of poetry, four books of poetry and six of his prose were used as emotional grounds. Repeated revealing of wounds accompanied by heavenly images was linked to Freud's repeated compulsion.
First, personal trauma is mainly expressed as the 'moon' and 'star' imagination. The 'moon' appears as memories and separations of unachieved love, poverty and love, physical pain accompanying femininity, and dreamy memories of childhood kidnapping. The 'star' is embodied as an image that reveals the pain and nostalgia of the diaspora's loss of hometown. Second, the trauma of community and history is mainly based on the imagination of the 'sun'. This trauma appears after studying in Germany. Heo Su-gyeong is a poet and archaeologist. As an archaeologist, it appears deeper while witnessing the historical sites of other countries. Community trauma poems through the imagination of 'sun, moon, and stars' further maximize the horrors of the wounds suffered by others in the history of violence and madness performed by mankind. This tragic imagination sympathizes with the suffering of others and leads to emotions of empathy and affection and to emotions of healing and recovery. Third, personal pain and community trauma meet each other and cross the boundaries. And the subject of poetry also unfolds the poetic imagination leading to healing and recovery. Personal pain is connected to community and historical trauma, and the pain of 'you' and 'he(s)' are accepted as the pain of 'I' and 'we'. This inclusive attitude stems from a unique perception of others.
The review of celestial images in Heo Su-gyeong is a process of tracking the meaning of various types of trauma. Astronomical images reveal the deficiencies and wounds of the poetic subject, and are indicators of recovery and healing. In Heo Su-gyeong's poem, the imagination of the sun, moon, and stars is used as an emotional medium of revealing wounds and healing wounds. As a result, celestial images can estimate a deep correlation with trauma. The study of the imagination of the sun, moon, and stars, which often appears in trauma poetry, brings us one step closer to the aesthetic characteristics of Heo Su-gyeong's poetry and the poetry world pursued by the poet.