이상 시선

이상

저자이상(李箱,1910∼1937)은1910년9월23일새벽6시경[음력8월20일묘시(卯時)경]서울북부순화방반정동4통6호에서아버지김영창(金永昌)과어머니박세창(朴世昌)사이에서장남으로태어났다.본관은강릉이다.아버지김연창은궁내부(宮內府)활판소(活版所)에서일했으며,어머니박세창은생일도모르고친정도없는천한신분의여자였다.세살때조부김병복(金炳福)의성화로자손이없는백부김연필(金演弼)의양자로들어가게된다.조부는손자의이름을‘해경(海卿)’이라고지어준다.이곳(서울통인동154번지)에서그는24세까지생활한다.친가가아닌데서오는불안속에서생활하면서도그는7세에≪대학≫,≪논어≫를읽을정도로공부에관심과재능을보인다.1917년4월인왕산밑에자리한4년제학교인신명학교(新明學校)에입학한다.과목중에지리와도화를특히좋아했다고한다.1929년3월경성고공을졸업하는데,졸업앨범에‘이상(李箱)’이란이름이나타나고있다.고공을졸업한해경은그해4월조선총독부내무국건축과기사로취직한다.그해11월조선총독부관방회계과영선계기수로자리를옮긴다.12월해경은조선건축학회기관지≪조선과건축≫표지도안현상공모에1등과3등으로당선된다.그리고이듬해(1930년)에처녀작인≪12월12일(十二月十二日)≫을≪조선(朝鮮)≫에9회(2∼12월)에걸쳐연재한다.이소설은그의최초의한글창작소설이자최초의소설이며,또한유일한장편소설이다.이사실은그의문학전반을놓고볼때하나의이채로움이라고할수있다.그해여름,그를죽음으로내몬첫각혈을하게된다.이로인해건강이쇠약해진다.하지만그는밤낮으로시작에몰두한다.1931년7월≪조선과건축≫표지도안현상공모에당선된인연으로이잡지의‘만필(漫筆)’란에일문시＜이상(異常)한가역반응(可逆反應)＞을발표한다.시에전념하면서도해경은그림을놓지않았으며,조선미술전람회에＜자화상(自畵像)＞이입선되기에이른다.시와그림에대한관심은그를자연스럽게예술적댄디취향의‘낙랑(樂浪)팔라’로이끈다.여기에서그는서양화가인구본웅(具本雄)을알게된다.꼽추구본웅과의교류는그의집으로까지이어진다.당시구본웅의집은당대의시인,소설가,화가,영화감독등이모여들던문화아지트였다.이러한교류가구체화된것이바로‘구인회’다.해경은1934년에여기가입해박태원,이태준,정지용,김기림,김유정,김환태등과교류한다.이들과의교류는해경에게는예술적인에너지원이었으며실제로이교류를전후로수많은작품이탄생한다.그러나이러한교류와함께고려해야할것은백부의죽음(1932년5월7일,뇌일혈),총독부기수직사임(1933년3월),금홍과의만남과다방‘제비’경영(1933년),동거(1933∼1935년),결별(1935년),‘제비’,‘쓰루’,‘69’,‘무기’경영실패,결혼(1936년),죽음(1937년)등으로이어지는그의생의형언할수없고돌이킬수없는허무의심연이다.이것은생의아이러니와역설을가능하게해독화(毒花)로서의미적파토스를발생시킨다.생의파멸(육체의죽음)과예술의탄생이아이러니하게혹은역설적으로뒤얽혀있는것이다.생이파멸혹은죽음을향해나아갈수록그의예술은더욱찬란하게빛을발한다.1932년3월과4월에소설＜지도(地圖)의암실(暗室)＞과＜휴업(休業)과사정(事情)＞,시＜건축무한육면각체(建築無限六面角體)＞는그시작이라고할수있다.그후＜꽃나무＞(1933),＜이런시(詩)＞(1933),＜거울＞(1933)을,1934년8월에는≪조선중앙일보≫에우리시사의기념비적인작품인＜오감도(烏瞰圖)＞를발표하기에이른다.독자의거센항의로15회로연재가중단된이작품은근대적인삶과예술전반에만연해있는상투성의파괴와해체를지향하고있다는점에서아방가르드의한표상으로존재한다고할수있다.

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異常한可逆反應 ·················34
破片의景致 ···················36
∇의遊戱 ····················38
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空腹? ·····················42

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AUMAGASINDENOUVEAUTES ········44
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診斷0:1 ···················48
二十二年 ···················49
出版法 ····················50
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대낮-어느ESQUISSE ·············55
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·素·榮·爲·題· ··············61
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?의記作品第二番 ··············100
?血의아침 ··················108

해설 ······················113
지은이에대해 ··················125
엮은이에대해 ··················130

우리나라사람이라면누구나한번은들어봤을,요절한천재시인이상.그러나＜오감도＞와＜날개＞외에당신은그에대해무엇을알고있는가?
이상의본질을가장잘드러낸시56수를처음발표되었던그모습그대로실었다.난해한시.그러나그내용을해석하고분석하기전에,당신의감성은벌써그본질을맛보고있을것이다.‘천재’.이단어외에는설명할길이없다.

지식을만드는지식‘한국근현대시초판본100종’은점점사라져가는원본을재출간하겠다는기획의도에따라한국문학평론가협회에서작가100명을엄선하고각각의작가에대해권위를인정받은평론가들을엮은이로추천했다.엮은이는직접작품을선정하고원전을찾아냈으며해설과주석을덧붙였다.
각작품들은초판본을수정없이그대로타이핑해서실었다.초판본을구하지못한작품은원전에가장근접한것을사용했다.저본에실린표기를그대로살렸고,오기가분명한경우만바로잡았다.단,띄어쓰기는읽기편하게현대의표기법에맞춰고쳤다.

이상의시는다다이즘이라는아방가르드적인예술정신과의관계속에서형성된다.이상의다다이즘은단순히호기심차원에서우연히성립된것이아니다.그의다다이즘은전위적미학운동인입체파와미래파적인요소에대한선행체험을통해성립되었다고할수있다.입체파와미래파에대한그의체험은보성고보시절,일본에건너가우리나라사람으로는최초로모더니즘적인감각(조형감각혹은조형적인사고)을배우고돌아온고희동이라는미술선생을사사한체험에서비롯된다고보아야할것이다.물론고희동의화풍이입체파와미래파의특성을보여준다고는볼수없다.하지만기존의전래기술의답습이나중국회화의모사로일관하던때에감수성이가장예민한시절의이모던한체험은그를쉽사리여기에서벗어나지못하게했던것이다.그가백부의반대로미술공부를포기하고고공으로진학해건축기사가되었지만이모던한체험의강렬함은무의식의심층저편에온전히남아있었던것이다.그는조선건축학회기관지인≪조선(朝鮮)과건축(建築)≫의표지도안현상공모에1등과3등으로당선하고,그이듬해화가로공식적인인정을받는총독부주관의조선미술전람회에출품해다시입선을하기에이른다.이모던한것에대한욕망,좀더정확히말하면보다래디컬하고아방가르드적인속성을지닌입체파와미래파예술에대한체험은화가구본웅과의교류를통해서구체적으로드러나기에이른다.
고희동사사나구본웅과의교류를통해성립된것은관념의차원이아니라온몸의차원에서체험한것들이다.어떻게보면그의시가드러내는입체파나미래파혹은다다와쉬르레알리슴으로이어지는아방가르드적인흐름이단발로그치지않고끊임없이자기갱신을통해그의미를확대재생산할수있었던것은온몸으로밀고나가는그런실질적인체험이있었기때문이다.이점은이상이우리문학사에서‘이상한토양에서이상하게탄생한이상한존재’라고해서그우연성과우발성,기이성만을특화하는것이얼마나잘못된무지의소치인가를말해주는대목이라고할수있다.그는서구의전위적인예술사조를표피적으로수용한것이아니라온몸으로그세계와만나또다른하나의세계를창조한그런존재로명명할수있을것이다.
다다이즘적인기획을통해이상이체험한것은시와그것의토대인언어에대한긴밀한관계성이다.언어에대한극도의부정과절망의끝에서그가만난것은언어자체가세계를온전히드러낼수없다는사실과함께,그럼에도불구하고그것을드러내기위해서는언어가필요하다는사실바로그것이다.그는언어에대한극도의부정과절망을통해철저한부정과파괴를수행하는다다의기획이잘못하면시(예술)자체를잃을수있다는사실을깨닫게된것이다.그결과그는다다의부정정신을살리면서시(예술)자체도살릴수있는길을찾은것이다.즉그는언어에대한절대부정과절망에서긍정과희망의통로를마련한것이다.