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It is not common to fill all of one's collection of poems only with aphorism as Yoo Chi-hwan did, although some poets like Oh Jang-hwan wrote aphoristic poems with the title, 'Aphorism'. This essay started with a simple question - Why Yoo Chi-hwan wrote aphoristic poems continuously for a long time.
Since Cheong-ma Yoo Chi-hwan(1908-1967) debuted with a poem 「Silence」 listed on 『Monthly Mun-ye』 in 1931, he published twelve collections of poems and several collections of essays before he died. His career is divided into three stages. At the first stage, he is said to have pursued love and life with his work 『Cheongma's selected poems』 and 『Letter of Life』. At the middle stage, he is thought to have searched society and history besides love and life with 『Uleungdo』 and 『Passionate songs are varied under ground』. And at the last stage, his interest became narrow again to only love and life. His work 『Poplar and the South Wind』 and some of his posthumous works reflect that trends.
Yoo Chi-hwan's 9th collection of poems - 『The 9th Collection』, which belongs to his 2nd stage, is unique in that it listed 95 aphorisms together with general poems. He wrote in the epilogue that 'though aphorism is actually a collection of very simple thoughts and intuitions coming from everyday life and aims at lyric philosophy, it is no matter we call them poems, as my poems are not poems', which indicates that aphorism is also a poem. Another collection - 『Passionate songs are varied under ground』- also includes 60 aphorism.
'Aphorism aimed at lyric philosophy', which Yoo Chi-hwan said himself, shows his characteristic straightforwardly, given that his poems are more exposed to idealism than other poets. This idealism came with Chinese characters at his first stage, and with aphorism at his middle stage.
This essay studied position of aphorism in his poems and relation between aphorism and his poems. To be more specific, it deals with 'position of aphorism itself in his poems', 'Aphoristic features of his poems', and 'Link between aphorism and poems deduced from comparison between aphorism and other poems'. Through this study, we can find out how his unique idealism was embodied.
Since Cheong-ma Yoo Chi-hwan(1908-1967) debuted with a poem 「Silence」 listed on 『Monthly Mun-ye』 in 1931, he published twelve collections of poems and several collections of essays before he died. His career is divided into three stages. At the first stage, he is said to have pursued love and life with his work 『Cheongma's selected poems』 and 『Letter of Life』. At the middle stage, he is thought to have searched society and history besides love and life with 『Uleungdo』 and 『Passionate songs are varied under ground』. And at the last stage, his interest became narrow again to only love and life. His work 『Poplar and the South Wind』 and some of his posthumous works reflect that trends.
Yoo Chi-hwan's 9th collection of poems - 『The 9th Collection』, which belongs to his 2nd stage, is unique in that it listed 95 aphorisms together with general poems. He wrote in the epilogue that 'though aphorism is actually a collection of very simple thoughts and intuitions coming from everyday life and aims at lyric philosophy, it is no matter we call them poems, as my poems are not poems', which indicates that aphorism is also a poem. Another collection - 『Passionate songs are varied under ground』- also includes 60 aphorism.
'Aphorism aimed at lyric philosophy', which Yoo Chi-hwan said himself, shows his characteristic straightforwardly, given that his poems are more exposed to idealism than other poets. This idealism came with Chinese characters at his first stage, and with aphorism at his middle stage.
This essay studied position of aphorism in his poems and relation between aphorism and his poems. To be more specific, it deals with 'position of aphorism itself in his poems', 'Aphoristic features of his poems', and 'Link between aphorism and poems deduced from comparison between aphorism and other poems'. Through this study, we can find out how his unique idealism was embodied.
목차
Ⅰ. ‘서정적 철학’의 시와 관념성
Ⅱ. 아포리즘의 성격과 ‘神’에 대한 사유
Ⅲ. 아포리즘과 1행시의 관계
Ⅳ. 아포리즘과 아포리즘적인 시
Ⅴ. 결론
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