서정주
저자미당서정주(徐廷株,1915∼2000)는1915년5월18일전북고창군부안면선운리578에서서광한의장남으로출생,2000년12월24일서울삼성병원에서반세기가넘는시력을마감하고타계했다.그는줄포공립보통학교와중앙고등보통학교에서수학했으며,1930년11월광주학생운동주모자4인중의하나로퇴학당해1931년고창고등학교에편입학했으나권고자퇴,1935년중앙불교전문학교에입학했다.1938년방옥숙과결혼해장남승해와상경,1941년동대문여학교교사부임을시작으로부산동아대학교전임강사,전주전시연합대학강사겸전주고등학교교사를역임하고조선대학교와서라벌예술대학등에서문학을강의했다.서정주는1936년동아일보신춘문예에시「벽」이당선되어문단에데뷔했다.같은해에김광균,김달진,김동리등과동인지≪시인부락≫을주재하면서본격적인시작활동을시작했다.처녀시집≪화사집≫(남만서고,1941)을발간,악마적이며원색적인시풍으로문단에큰화제를불러일으키며‘한국의보들레르’로일컬어지기도했다.해방이후발간된제2시집≪귀촉도≫(선문사,1946)부터그의시세계는동양적인정서와민족적정조를담아낸세련된시풍을내보이기시작한다.제4시집≪신라초≫(정음사,1960)이후불교사상을기조로한신라설화를제재로시인스스로‘영원주의’라일컫는동양적,불교적정서를부활시켰으며,유치환과더불어‘생명파’시인으로불린다.그는≪삼국유사≫같은고전과불교적사유를문학적자양으로삼아한국적인전통을시세계에담아냈다.이후더욱진경을보인작품50여편을모아제5시집≪동천≫(민중서관,1968)을발간해신라정신과불교적세계를한층더심화한다.해방이후줄곧“고전적지혜의회복”을역설해온서정주는동양문예전통과유기체적관계를이루는한국문학의전통을설계하고자했다.그과정에서탄생한제6시집≪질마재신화≫(일지사,1975)나제7시집≪떠돌이의시≫(민음사,1976)는모국어와한국혼의깊이를보여준원숙한시집으로평가되고있다.1980년대서정주는국내외에서활발한저작활동을펼쳐,세계일주여행경험을담은세계기행시집≪서(西)으로가는달처럼…≫(문학사상사,1980)과세계여행기≪떠돌며머물며무엇을보려느뇨?≫2권(동화출판공사,1980),한국역사시집제9시집≪학이울고간날들의시≫(소설문학사,1982)등을발간한다.고희를훌쩍넘긴1990년대에접어들어서도제13시집≪산시(山詩)≫(민음사,1991),≪서정주세계민화집≫전5권(민음사,1991),≪미당서정주시전집≫전2권(민음사,1991),제14시집≪늙은떠돌이의시≫(민음사,1993),제15시집≪80소년떠돌이의시≫(시와시학사,1997)를출간해한국시의깊이와폭을대변하는시인으로서위상을확고히했다.≪화사집≫에서≪80소년떠돌이의시≫에이르는15권의창작시집은한국문학뿐아니라세계문학에도확고하게기념될최고의수확이라할만하다.
自畵像 ······················3
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대낮 ·······················8
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입마춤 ·····················10
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葉書 ······················13
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부흥이 ·····················16
雄鷄(上) ·····················17
雄鷄(下) ·····················19
바다 ······················21
復活 ······················23
牽牛의노래 ···················24
石窟庵觀世音의노래 ··············26
歸蜀途 ·····················28
木花 ······················30
푸르른날 ····················31
고향에살자 ···················32
밤이깊으면 ···················33
逆旅 ······················38
無等을보며 ···················46
菊花옆에서 ···················48
新綠 ······················49
추韆詞 ·····················51
春香遺文 ····················53
꽃피는것기특해라 ················55
密語 ······················56
善德女王의말씀 ·················57
꽃밭의獨白 ···················59
婆蘇두번째의편지斷片 ·············61
百結歌 ·····················63
老人獻花歌 ···················65
古調貳 ·····················69
숙영이의나비 ··················70
다섯살때 ····················72
無題 ······················73
韓國星史略 ···················74
近郊의泥녕속에서 ················75
冬天 ······················77
내永遠은 ····················78
내그대를사랑하는마음은 ·············79
마른여울목 ···················80
재채기 ·····················82
水路夫人의얼굴 ·················84
내가돌이되면 ··················87
마흔다섯 ····················88
내가또유랑해가게하는것은 ···········89
칙꽃위에버꾸기울때 ··············90
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無題 ······················92
新婦 ······················94
上歌手의소리 ··················95
그애가물동이의물을한방울도안엎지르고걸어왔을때 ·····················96
박꽃時間 ····················97
말피 ······················99
초파일의버선코 ·················101
시월이라상달되니 ···············102
북녘곰,남녘곰 ·················103
韓國鍾소리 ··················104
故鄕蘭草 ···················105
秋夕 ······················106
새해의祈願 ···················108
우리故鄕중의故鄕이여… ············110
인사 ······················112
堂山나무밑女子들 ···············114
단골암무당의밥과얼굴 ·············116
雨中有題 ····················117
‘거시기’의노래 ·················118
김치타령 ····················121
朴龍來 ·····················123
케네디記念館의黑人들을보고 ··········124
멕시코에와서 ··················126
太陽과處女心臟 ················128
잉카文明시절女子들이손가락끝마다끼었던純金골무들을보고 ················130
쌈바춤에말려서 ·················132
술나와라뚝닥,술나무수풀 ···········134
보들레에르墓에서 ················136
라인江가에서 ··················139
파르테논神殿앞에서 ··············141
나자렛마을의인삿말 ··············144
劫의때 ·····················145
사내자식길들이기1 ···············146
茁浦3 ·····················151
광주학생사건 ··················156
제2차년도의광주학생사건 ············161
詩人部落일파사이에서 ·············165
종천순일파? ··················169
일정치하의막바지때 ··············173
해방바람에 ···················177
4·19바람 ···················182
5·16군사혁명과나 ··············187
환갑의떠돌이길에서 ··············191
한국의山詩 ··················195
日本山들의意味 ················198
蒙古山의占쟁이새 ···············201
히말라야의하느님과나 ·············204
印度의名山난다데비에서어느仙女님이속삭이신이야기 ····················206
한국사람귀에들리는이란의山이름들 ······209
新아라비안나이트序 ···············210
포르투갈의‘에스트렐라’山의仙女께서나오시어말씀하기를 ··················212
아일랜드의훤칠한색시들의山 ··········215
유고의山색시‘비라’에대해서 ··········217
濠洲南오스트레일리아州의우우드로프山에서한初期移民의넋이말씀하기를 ··········219
하와이州,오아후섬의푸우카레나山의山神女의詩 221
이집트砂漠의다섯개의山에서나는소리 ·····222
에티오피아의主峯라스다센테라라山이말씀하기를 ·225
내가千字책을다배웠을때 ············228
詩人咸亨洙小傳 ················229
에짚트의어떤저승의門앞 ············234
老妻의病床옆에서 ···············236
페테르부르크의우리된장국 ···········238
범부채꽃 ····················239
일곱살때할머니에게서드른흰암여우이얘기 ···240
늙은사내의詩 ·················242
나는아침마다이세계의山1628개의이름들을불러서왼다 ····················243
도로아미타불의내햇살 ·············245
해설 ······················247
지은이에대해 ··················277
엮은이에대해 ··················283
어떤이는그를한국의보들레르라고평한다.다른이는그를친일파이자독재정권의시녀로평한다.역사에서그의친일행적을지울수없는것처럼,한국의현대시사에서그가이뤄낸성취는결코부정할수없다.언어의연금술사서정주,그가남긴시를날것그대로만나본다.
지식을만드는지식‘초판본한국시문학선집’은점점사라져가는원본을재출간하겠다는기획의도에따라한국문학평론가협회에서작가100명을엄선하고각각의작가에대해권위를인정받은평론가들을엮은이로추천했다.엮은이는직접작품을선정하고원전을찾아냈으며해설과주석을덧붙였다.
각작품들은초판본을수정없이그대로타이핑해서실었다.초판본을구하지못한작품은원전에가장근접한것을사용했다.저본에실린표기를그대로살렸고,오기가분명한경우만바로잡았다.단,띄어쓰기는읽기편하게현대의표기법에맞춰고쳤다.
미당서정주는한국의전통문화와민족정서를수려한모국어에담아낸언어의연금술사다.한국의현대시사와궤적을같이하는60여년의긴시력은물론그가남긴텍스트의미학적성취도와양적인규모는한국문학의자기정체성에대한줄기찬탐색의연대기로서문학사의한시대를장식할만하다.미당의시세계를많은연구자들은대략세시기로나누어조망하고있다.초기에속하는시집은≪화사집≫(1941)과≪귀촉도≫(1946)이며,중기에속하는시집은≪신라초≫(1960),≪동천≫(1968)이고,후기에속하는시집은≪질마재신화≫(1975),≪떠돌이의시≫(1976)등이다.
초기시에서서구적인감수성으로인간의원죄의식과원초적인본능,악마적인육성의세계를노래했다면,중기시에서는한국문학의전통과고전적가치를인식하며불교적상상력과신라의정신세계를탐색하고있다.해방이후그는초기의상징적이고악마적인시풍에서벗어나동양적인사상으로접근해심화된시적정서와민족적정서를세련된시풍으로표현해냈다.특히불교사상과신라의설화적요소를기반으로,시인스스로가‘영원주의’라일컫는문학정서를부활시켰다.“초기엔대지적존재로서인간의조건과본능의몸부림을보들레르적탐미주의로승화시키려하였으나이의한계를깨닫고곧동양의영원주의로회귀한다.중기이후에그가몰두했던신라정신과신화혹은설화적세계는바로그의이와같은정신세계를보여주는것들이라고말할수있다.”후기시는초기시와중기시의세계를더욱심화하고승화시켜한국의토속세계와신화적상상력으로나아가는뚜렷한변화의궤적을보여주고있다.두번에걸친세계여행경험과자전적체험을담아내거나,역사와민속,자연풍물등에대한천착을통해시세계를확장해온것도그의후기시의중요한특징이다.
오세영은≪질마재신화≫의시세계를“성스러운세계로부터속된세계로”의‘하강’이라표현하고있다.“현실적,일상적,세속적인세계”에대한천착을통해정감어린삶의모습들과인생순리에대한체득,운명에대한달관의경지를보여주고있는서정주의후기시는,서정시의기율적완성이라할만한원숙한표현의경지를보여준다.비록그의문학노선이나친일행적과관련해역사의식과현실감각의결여를비판하는논의들이많이존재하기는하지만“미당이없는한국현대시는상상조차할수없다.미당의정치적행적이얼마나잘못되었고,우리민족사에누가되었는지는모르겠지만,미당의시가그런이유로매도당하는것은엄청난민족문화의손실이다.”
미당은일찍이＜시의표현과그기술－감각과정서와표현의단계＞에서시의단계를감각적인시와정서적인시,그리고예지의시로구분하는데,‘감각’을극복해야할단계로보고,‘예지의시’를가장고차원적인단계로설정한바있다.신기로운언어적기술과감각의추구에몰입해온현대시를넘어,한국전통과풍속으로부터자연과우주,인류의삶에대한근원적탐색까지아우르고있는그의작품들은한국현대시의정수이자예지의시로일컬어지기에손색이없다.