초판 변영로 시선 (큰글씨책)

변영로

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벗들이여 ·····················7
날이새입니다 ···················9
그?가언제나옵니?? ··············10
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낫에오시기?리시면 ···············27
가을하늘미테서 ·················28
하늘만보아라 ··················29
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해설 ······················99
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엮은이에대해 ··················132

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

수주변영로는대표작＜논개＞와함께‘민족정신’을노래한시인으로잘알려져있다.교과서에실린＜논개＞가변영로를‘민족의시인’으로만든결정적계기가되었지만그가식민지시기에보여준굽히지않는정신또한그의시를‘민족정신’의발현으로이해하도록만들었다.그러나변영로의시를‘민족정신’에초점을맞추어연구하는관행은오히려그의시가가지고있는수다한장점들을가리는부작용을낳기도했다.실제로시집발간을전후로1960년대까지변영로시의특징으로종종언급되었던‘언어’와‘기교’는이후의연구가‘민족정신’이라는‘관념’에집중됨에따라크게주목을받지못하고있다.‘관념’(임)에대한과도한집중으로인해‘언어’와‘기교’에의해드러나는‘현상’의감각적형상화라는측면이소홀히다뤄진것이다.변영로는‘식민지’로부터의해방이라는‘집단적요구’와‘근대시’와‘근대주체’의형성과발전이라는‘개별적요구’가충돌하면서도맞물렸던1920년대를배경으로활동했다.따라서변영로의시세계를‘민족정신’이라는집단적가치의형상화로규정할때,그의시에나타나는근대성의편린들을밝히기는더욱어려워질것이다.
이글은‘민족정신’과함께변영로의시에나타난자연과심리‘현상’의감각적형상화양상을밝힘으로써1920년대시사(詩史)에서그의시가차지하는위치를재정립하고자한다.‘감각’이‘민족정신’이라는‘관념’은물론자연및심리‘현상’을인식하고형상화하는‘매개’역할을했음을작품분석을통해규명하고변영로시의주체가‘감각’을통해‘식민지근대’라는모순의시대를돌파해나갔음을밝힐것이다.“슬픔과비애그리고허무적감정이주조”를이루었던1920년대초반의시단을고려한다면‘관념’과‘현상’을감각적으로묘사한시들이당대의시인들로부터변영로를변별해준다고볼수있다.
변영로는‘임’이라는부재의대상을절대적인‘관념’으로형상함으로써피식민지인으로서의역사인식을드러내는동시에‘현상’을감각적체험의구체성을통해형상함으로써시인으로서의미적실천을수행했다.따라서변영로시의주체는역사적주체와미적주체로서의자기인식을동시에수행한근대주체라고할수있다.‘관념’(임)과함께‘현상’을감각적으로형상화했다는점에서1920년대시단에서차지하는변영로시의위치는분명재정립되어야할것이다.