기형도 시의 바람 이미지 연구

A Study on the Wind Image in Ki Hyung-do’s Poetry

&nbsp;&nbsp;What comes across my mind relating to Ki Hyung-do and his poetry is grotesque death. Our pathetic mind to the early death of a talented poet works as an intervening factor of reading his poetry. So, as poetical theories targeting Lee Yook-sa or Yoon Dong-joo can not be out of a pit of biography of a great man. most of the writing on Ki Hyung-do has features of a requiem. For Ki Hyung-do’s poetry, his environment and early death is one of semantic methodologies involved in his writing. However, a focus should be given on how delicately he represented his life and internal conflicts in poems. Therefore, this study is to examine Ki Hyung-do and his poetry based on the theory of Bachlard.<BR>&nbsp;&nbsp;Bachlard’s attraction lies on “possible universality of poetic experience” as said by Song Wook. His materialistic imagination to identify reality instead of forms of objects helps identify basic forms of imagination presented in literary works. It also has an advantage that can show life of a poet and his individuality well. It has a advantage to clarify that the life of a poet may influence on works, but is absolutely not a literary work itself.<BR>&nbsp;&nbsp;In Bachlard’s Four Elements Theory, imagination of wind shows characteristics of Ki Hyung-do’s poetry well. Of the four elements such as water, fire, wind and earth, wind can not be seen. Wind does not have imaginative power when it is visual, but when it is not visual and imagined in dynamic power, it obtains power. What determines Ki Hyung-do’s poetry is storms of violent or crying wind. Storm has an important meaning in Ki’s poetry. Things blowing by wind in his poetry are images of wind seen visually, not objects that have important meaning themselves. Here the wind is physical and at the same time abstract wind blowing in his mind.<BR>&nbsp;&nbsp;As “grotesque realism” called by Kim Hyun, most of the images presented in Ki&quot;s poetry are unrealistic and strange. Water and air in his poetry do not flow and are stagnant. The action that the poet stops flowing intentionally is an expression of powerful intention. Therefore, what represents his imagination is ‘Xerxes Complex’. The Xerxes Complex is anger against the subjects and is presented as hurting the subjects as well as breaking stagnancy. Here, the cut projects subjective feeling of the poet.<BR>&nbsp;&nbsp;The common thing of hurting power in his poetry is an exclusive motif of “cutting”. What is not visually seen by fog is cut by fog. This cutting motif comes from separation from his mother when he was young and being grown-up is the same as being hurt. He wanted to be awakened through such suffering, rather than neglecting it. It is thought that Ki Hyung-do’s poetry is of negation without right hope and optimism. However, Ki does not deny his life, nor does he accept death. He wanted to progress ahead through wind without being stagnant. The problem is that his wind is only out-breathing without inhalation. Wind is, that is, breathing of the world and man’s attitude to accept the world. His wind is violent wind controlling all the things including himself. However, he had to accommodate things he excluded to have internal harmony, but he had no accommodative capacity. It is sorry that Ki Hyung-do gave up writing before he was mature enough to accommodate the world.