초판 윤곤강 시선(큰글씨책)

윤곤강

시인.《시학》동인으로등단했다.초기에는카프소속이었으나,곧암흑과불안,절망을노래하는퇴폐적시풍을띠게되었고풍자적인시를썼다.그러나해방후에는전통적정서에대한애착과탐구를시에표현했다.

제1시집≪대지≫
渴望 ···················3
봄의幻想 ·················5
鄕愁1 ···················7
鄕愁2 ···················8
鄕愁3 ···················9
日記抄 ··················10
冬眠 ···················12
大地 ···················15
大地2 ··················17
바다 ···················21
狂風 ···················24
季節 ···················27
蒼空 ···················30
가을의頌歌 ················33

제2시집≪만가≫
輓歌Ⅰ ··················37
輓歌Ⅱ ··················39
輓歌Ⅲ ··················43
氷點 ···················47
石門 ···················49
얼어붙은밤 ················51
붉은혓바닥 ················54
面鏡 ···················56
별바다의記憶 ···············57
O·SOLE·MIO ··············60
배암 ···················62
黃昏 ···················64
小市民哲學 ················66
아버지 ··················68
鄕愁 ···················69

제3시집≪동물시집≫
독사 ···················73
나비 ···················74
달팽이 ··················75
잠자리 ··················76
붕어 ···················77
비들기 ··················78
올빼미 ··················79
할미새 ··················80

제4시집≪빙화≫
MEMORIE ················83
夜景 ···················85
언덕 ···················86
포풀라 ··················87
自畵像 ··················88
待夜抄 ··················89
별과새에게 ················90
時計 ···················91
꿈 ····················92
悲哀 ···················93
廢園 ···················94
눈쌓인밤 ················95
白夜 ···················96
성애의꽃 ·················97

제5시집≪피리≫
찬달밤에 ················101
피리 ··················103
立秋 ··················106
가을 ··················108
밤의노래 ················110
眞理에게 ················112
피 ···················114
지렁이의노래 ··············117
슬픈하늘 ················119
길 ···················121
외갓집 ·················123
?榴 ··················124
옛집 ··················126

제6시집≪살어리≫
살어리(長詩) ···············129
봄 ···················137
첫여름 ·················138
옛생각 ·················139
수박의노래 ···············140
붉은뱀 ·················141
늙은나무 ················143
해바라기(1) ···············144
해바라기(2) ···············145
허재비 ·················147
저녁노을 ················148
기다리는봄 ···············149
유월 ··················150
밤바다에서 ···············151


해설 ··················153
지은이에대해 ··············173
엮은이에대해 ··············178

윤곤강은일제의군국주의가노골화되던1930년대초반문단에등장해왕성한시작활동을전개한시인이자비평가다.윤곤강은식민지현실과자아의대립관계를‘고독’을통해형상화한다.그의‘고독’은외로움자체라기보다는식민지현실이가져다준“주검같은고독”이자“슬픔의빈터”와같은고독이다.따라서그의고독은1920년대백조파시인들이보여준,퇴폐주의적감상주의에서파생되는고독과는사뭇다르다.그리고그의고독은그이면에“지리지리한절눔바리놈歲月”(＜창공＞)인암울한현실에서탈출하고싶은욕망을내재하고있기때문에긍정성을내포한다.시전반에걸쳐있는이러한욕망은윤곤강의시를구축하고있는하나의근원적인힘으로작용한다.
그의시세계는시적변모과정에따라세시기로나눌수있다.문단데뷔시절부터시집≪대지≫,≪만가≫를간행한시기까지와,≪동물시집≫,≪빙화≫를간행한시기,그리고해방이후로부터≪피리≫,≪살어리≫를발간한시기까지다.
제1기에는식민지인의비애와계급의식이표출된다.프로시의특징인진취적이고격렬한내용을통해프롤레타리아리얼리즘의면모가드러나전·선동하는구호적인강한톤으로시적분위기를이끌고있으며,일제식민지의모순을간파한시적화자의강한의지를보여주고있다.
1930년대후반으로갈수록일제의군국주의는점점노골화된다.이러한현실속에서앞의두시집에서보여주던리얼리즘적경향의시는더이상불가능하게된다.이때그는‘동물’을소재로‘생’의절실함과소중함을표출하기시작한다.
해방이후윤곤강은잃어버린주권을회복하고민족주체의동질성을찾기위해안간힘을쏟는다.이러한내용을담은시집이제5시집≪피리≫와제6시집≪살어리≫다.≪피리≫의머리말에서그는“헛되인꿈보다도오히려허망한것은죄다버리고나는나의누리로,나의누리를찾아,돌아가리로다”라고적고있는데,이는민족의전통을계승하고민족언어를되찾기위한의지의표명으로볼수있다.