초판 오장환 시선(큰글씨책)

오장환

≪성벽(城壁)≫
月香九天曲 ····················3
旅愁 ·······················7
海港圖 ······················9
漁浦 ······················12
黃昏 ······················13
城壁 ······················15
傳說 ······················16
溫泉地 ·····················17
賣淫婦 ·····················18
古典 ······················19
魚肉 ······················20
毒草 ······················21
鄕愁 ······················22
鯨 ·······················24
花園 ······················25
雨期 ······················26
暮村 ······················27
病室 ······················28
湖水 ······················30
姓氏譜 ·····················32
易 ·······················33
海獸 ······················34

≪헌사(獻詞)≫
할렐루야 ····················45
深冬 ······················47
나의노래 ····················48
夕陽 ······················50
體溫表 ·····················51
TheLastTrain ··················53
無人島 ·····················54
獻詞Artemis ···················56
싸느란花壇 ···················58
北方의길 ····················60
喪列 ······················61
永遠한歸鄕 ···················62
?懷 ······················64
寂夜 ······················66
나포리의浮浪者 ·················67
不吉한노래 ···················69
荒蕪地 ·····················71

≪나사는곳≫
勝利의날 ····················97
초봄의노래 ···················103
鐘소리 ·····················105
밤의노래 ····················107
장마철 ·····················110
다시금餘暇를… ················113
다시美堂里 ··················115
구름과눈물의노래 ···············117
붉은山 ·····················121
길손의노래 ···················122
노래 ······················124
나사는곳 ···················126
聖誕祭 ·····················128
省墓하러가는길 ················130
山峽의노래 ···················132
고향앞에서 ···················135
江물을따러 ···················137
봄노래 ·····················140
FINALE ·····················141

≪병든서울≫
八月十五日의노래 ···············145
聯合軍人城歡迎의노래 ·············147
病든서울 ····················148
入院室에서 ···················154
깽 ·······················156
이歲月도헛되이 ················158
共靑으로가는길 ················162
强盜에게주는詩 ················164
나의길 ·····················166
어머니서울에오시다 ··············169

≪붉은기≫
붉은기 ·····················175


시집에수록되지않은시
首府 ······················185
戰爭 ······················196
夜街 ······················235
宗家 ······················237
旅程 ······················239
歸蜀途 ·····················242
歸鄕의노래 ···················245
壁報 ······················247


해설 ······················251
지은이에대해 ··················284
엮은이에대해 ··················287

시인오장환(1918∼1951)은1933년11월≪조선문학≫에시＜목욕간＞을발표함으로써작품활동을시작했다.그가본격적인작품활동을전개하던1930년대중·후반은일제파시즘의폭압이극심해짐에따라집단적인문학운동이점차불투명해지는시기에해당한다.1935년에프롤레타리아문학운동을주도해가던카프가일제의탄압에의해강제해산됨으로써,당시문단에서는불안과위기의식이고조해간다.이시기와맞물려대표적인모더니스트인김기림은기교에편중해전개되어온모더니즘문학의한계를반성하면서내용과형식이통일된전체로서의시를주장한다.이처럼일제파시즘에대해이념적이고집단적인투쟁이가능하지않은시점에서기존과는다른방법론이모색되었으며,특히소설보다다양한유파의시가산출된다는점이주목된다.
이때오장환은이용악,김광균등과함께새로운세대의출현을예고하는시인으로받아들여졌다.그는당대문단에서김기림등모더니즘시인뿐만아니라임화와같은프롤레타리아문학가에게서도조명을받는다.김기림은오장환의첫시집인≪성벽≫에대해“현대의지식인의특이한감정을표현”했다고평가하면서“새‘타입’의서정시를세웠다”고극찬한다(＜≪성벽≫을읽고＞,≪조선일보≫,1937.9.18).그리고임화는특별히오장환의시에많은부분을할애하면서,그의시가“생(生)이그냥슬픔인현대서정시의중요한측면”을표현했고“내면적으로일반세계와관계”하고있다고말한다(＜시단의신세대＞,≪조선일보≫,1939.8.18).
오장환은1988년해금조치가이루어지기까지월북작가로분류되면서연구자뿐만아니라일반인에게도공개되지못했다.그는1951년신장병으로죽기전에북한에서≪붉은기≫라는제5시집을출간한바있으나,북한에서도그에대해평가하기시작한것은그리오랜일이아니다.그전까지오장환은남과북의이념갈등으로인해제대로평가받지못하고그경계에방치되어있었던것이나다름없었다.하지만지금까지살펴본것처럼,오장환의문학은단순히이념의잣대로접근할수없으며,한국문학사에서간과할수없는중요한위치를차지하고있다.이제우리는오장환의문학이정당한평가를받고그본래의위치를회복할수있도록해야할것이다.
해방전까지그는철저한‘비애’의시인이었다.그는현실에서오는울분과좌절을‘비애’로토로하기도하고,그를둘러싼현실의모순을‘비애’로대응하기도하고,현실의이면에숨겨진근원적인것을‘비애’로발견하기도했다.초기그의두시집인≪성벽≫과≪헌사≫는이러한비애의다양한방법론을적절하게보여준다.그리고오장환의‘비애’는폐허의식과연결되면서민족적인비애를문명사적인차원에서파악하려했고,그결과그는민족의비극을극복할새로운문명의도래를예감했다.그리하여오장환은해방후인민이주인이되는나라를부르짖으며조선문학가동맹에참여했는지도모른다.
어쨌든오장환은현실과의접점을가진비애를통해현대서정시의새영역을개척했으며‘장시’의실험을통해시의현실적응전의가능성을십분발휘했다는점에서충분한의의를가지고있다.생전그는‘자신의노래가끝나는날무덤에아름다운꽃이피리라’(＜나의노래＞)라고했으나,이제그의노래는1930년대의암담한무덤을딛고아름다운꽃으로피어있다.어쩌면이처럼시인은미래의삶을살다갔는지도모른다.이선집을통해일반독자들에게오장환의시가더욱가까이다가서고널리알려졌으면한다.