초판 이육사 시선(큰글씨책)

이육사

시작편집위원.1966년안동에서태어나경희대국문과대학원을졸업했다.1995년'중앙일보'신춘문예로등단했으며,젊은평론가상,애지문학상,편운문학상을수상했다.2007년현재경희사이버대미디어문예창작과교수로재직중이다.지은책으로'김지하문학연구','꽃과어둠의산조','아름다운결핍의신화','한국문화와예술적상상력','대지의문법과시적상상'등이있다.

말 ························3
春愁三題 ·····················4
黃昏 ·······················6
失題 ·······················8
한개의별을노래하자 ···············10
海潮詞 ·····················12
路程記 ·····················15
草家 ······················17
江건너간노래 ··················19
小公園 ·····················20
鴉片 ······················21
年譜 ······················22
少年에게 ····················24
南漢山城 ····················26
湖水 ······················27
靑葡萄 ·····················28
絶頂 ······················29
班猫 ······················30
狂人의太陽 ···················31
日蝕 ······················32
喬木 ······················33
西風 ······················34
獨白 ······················35
娥眉 ······················37
子夜曲 ·····················39
서울 ······················40
芭蕉 ······················42
曠野 ······················44
꽃 ·······················46
나의뮤?즈 ···················47
邂逅 ······················49
山 ·······················51
畵題 ······················52
잃어진故鄕 ···················53
?? ······················55
바다의마음 ···················57
무제 ······················58

해설 ······················59
지은이에대해 ··················96
엮은이에대해 ··················99

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

이육사의시세계는창조적관조의미의식이중심음을이룬다.창조적관조는항일운동에매진했던자신의체험적삶의현실로부터스스로미적거리를확보하는계기이면서동시에그궁극적의미를재인식하고삶의지향성을높은차원으로열어가는계기로작용한다.그래서그의시세계는마침내절망의현실속에서자기초극의언어와예언적지성을노래하는단계로나아간다.
그는항일운동가의급박한실천적삶속에서도마음의균정을잃지않고그본원적의미와가치를탐색하는거경궁리의정신을지속적으로보여주었다.이육사의직계조상이기도한퇴계이황은궁리에대해“같은것에나아가서도다른것이있음을알고다른것에나아가서도같은것이있음을보아야하며,둘로나누어도일찍이분리되지않는것을해치지아니하며합쳐서하나로만들어도실제로는서로뒤섞이지않는데귀착되어야”함을강조한다.거경의정신을바탕으로추구하는일관되면서도유연하고입체적인궁리의방법론을제기하고있다.이육사의시편에자주등장하는수렴/확산,소멸/생성,부정/긍정등불연속성의연속성이나역설적이고탄력적인시적인식론은이러한거경궁리의정신과자세에서연원하는것으로해석된다.그가극명한고통의표상인수인번호였던이육사(二六四)를자신의필명이육사(李陸史)로새롭게전환한역설적인면모도거경의유연하고입체적인관조적객관화에서연원한다.
또한그의시적삶은거경궁리의극점에서활연관통의경지를타파해나가는면모를유감없이보여주었다.그의시적정신사의지형은1930년＜말＞을통해등단한이래＜絶頂＞을분수령으로해＜꽃＞,＜曠野＞,＜靑葡萄＞등에이르면활연관통의직관을통한예언자적지성이본격적으로노래되고있다.특히＜曠野＞에서신화적무한으로치닫는활연관통의세계는궁극적으로“다시千古의뒤”에새롭게현현될역사적신성성을직시하는예언자적확신의노래로펼쳐지고있음을볼수있다.이와같은이육사의예언자적지성은비단일제강점기로부터해방의의미로국한되지않는다.천지인삼재원리를관통하는기원신화의신성성은다시“千古”의뒤로이어지는유구한미래역사의창조적재현의원형적주술로서작용하기때문이다.따라서이육사의거경궁리와활연관통의시세계는고답적인과거형이아니라오늘날의노래이며미래형의노래로서영원성을지닌다.