1940年代朱永渉詩の考察

A Study of Joo Yeong-Seop(朱永渉)’s Poems in 1940s: With a Focus on “The Flight Poem(飛行詩)” and “The Donkey(驢馬)”

本論文は、1943年11月に刊行された朝鮮半島最後の詩歌集『朝鮮詩歌集』に収録された朱永渉の詩｢飛行詩｣と｢驢馬｣において国策文学として扱う際に感じる違和感に着目し、それを揺らぎと捉え、日帝末期の国策文学として書かれた詩における朝鮮人詩人の眼差しを探求する試みである。｢飛行詩｣は第一連から第三連まで｢少年｣が登場するが、それぞれの置かれた立場や空間は異なるため、連ごとに比較していく。第一連から第三連にかけて空は飛行機が飛ぶ場所となっていく。そして朱永渉は第三連でそのような空を見上げる｢半島の少年｣の内面や眼差しを徹底して描くことはない。また、｢驢馬｣における｢僕｣も同様に抽象化された存在である。口笛を吹くことは、発話と異なり言葉という意味を持たない音を発する行為であり、口笛を吹く｢僕｣はロバのように自身の言葉を持たない存在として描かれる。さらに詩篇｢驢馬｣がフランシス·ジャムの｢驢馬と一緒に天国に行くための祈り｣について言及していることから二篇を比較し、ロバと｢天国｣ではなく｢星の野道｣を歩くことを選ぶ｢僕｣について考察する。

The purpose of this study is to reconsider the poems written by Joo Yeong- Seop in 1940s. He wrote his work in Japanese during the Japanese occupation, so it is said that his poetry was pro-Japan after WWⅡ. This is especially because “The Flight Poem” and “The Donkey” were included in “The Joseon Poetry and Tanka Collection”, the last anthology of poems and tanka written in Japanese published under the colonized Korean peninsula in 1943. However, his poems also have non-national political expressions. This paper focuses on the Joo Yeong-Seop’s two poems mentioned above to explore the abstracted ‘boy’ and ‘I’, the meaning of whistling, and their representations. The results of the study are as follows: First, the present study compares between stanzas to analyze three types of ‘boy’ in “The Flight Poem” and their poetic space. Joo Yeong-seop did not specify this boy’s emotion and did not use any positive/negative expression with him to abstract this ‘boy.’ Second, it is known that there is also an ambiguity, revealed based on comparison between‘I’ and ‘donkey’ written in “The Donkey” and poems by Francis Jammes. Whistling does not have a meaning, and this setting makes Joo Yeong-Seop’s poems extended beyond their national political characters.