초판 설정식 시선(큰글씨책)

설정식

1912년함경남도단천에서태어나경성에서자랐다.1932년희곡「중국은어데로」를발표하여등단했고,1937년연희전문학교를우수한성적으로졸업했다.이후미국오하이오주마운트유니언대학과컬럼비아대학에서영문학을공부했다.해방후에는미군정청여론국장과과도입법의원부비서장으로있는동시에,조선문학가동맹의일원으로활발하게활동했다.소설「청춘」(1946)과「한류·난류」(1948)등을연재했고,『종』(1947),『포도』(1948),『제신의분노』(1948)등의시집을남겼다.한국최초로『햄릿』(1949)을완역하여출간하기도했다.한국전쟁중월북했고,1953년남로당숙청과정에서비극적으로생을마감했다.

太陽없는땅 ···················3
寓話 ·······················6
權力은아모에게도아니 ··············11
피수레 ·····················15
鐘 ·······················17
短調 ······················19
指導者들이여 ··················23
해바라기쓴술을비저놓고 ·············25
雜草 ······················28
삼내새로운밧줄이느리우다만날 ·········30
斷章 ······················33
卿아 ······················36
死 ·······················39
靈魂 ······················46
原鄕 ······················49
또하나다른太陽 ················53
달 ·······················57
해바라기(一) ··················59
해바라기(二) ··················61
해바라기(三) ··················63
해바라기少年 ··················65
바다(一) ····················67
바다(二) ····················69
詩 ·······················70
그런뜻이오사랑이란둥 ··············71
墓地 ······················75
샘물 ······················76
가을 ······················77
獻詞 ······················78
太陽도天心에머믈러 ···············81
順伊의노래 ···················86
失笑도許諾지않는絶對의城 ···········88
기르기를즐긴다는五月太陽과 ··········92
내이제무엇을근심하리오 ·············95
帝國의帝國을圖謀하는者 ············98
淫雨 ······················104
霖雨 ······················106
해바라기花心 ··················108
Y에게 ·····················110
葡萄 ······················112
無心 ······················113
頌歌 ······················115
‘스캣취’ ·····················124
象罔 ······················128
又日新 ·····················133
作別 ······················136
童孩愛難 ····················142
舞 ·······················144
眞理 ······················147
諸神의憤怒 ··················149
붉은아가웨열매를 ···············153
서울 ······················158
弔辭 ······················160
鎭魂曲 ·····················169
新聞이커?다 ··················173

해설 ······················179
지은이에대해 ··················189
엮은이에대해 ··················193

설정식이본격적인문단활동을하며펴낸제1시집≪鐘≫에는근심어린시선으로해방정국을바라보는설정식의현실인식이나타난다.해방은되었지만그런기쁨도잠시,이념적대립과반목을일삼는해방정국은혼란의소용돌이에휩싸인다.설정식은해방정국의혼돈을‘太陽이없는땅’에비유한다.그는“아解放이되었다하는데/하늘은웨저다지흐릴까”(＜原鄕＞)탄식하고,해방된땅이“곡식이익어도익어도쓸데없는땅”,“땀을흘여도흘여도쓸데없는땅”(＜太陽없는땅＞)과다를바없다고토로한다.해방이되어도민족의앞날은암담하기만하다.그이유는국권회복의희망과가능성이미소강대국의이권다툼이벌어지는한낱‘정치적노름판’에서증발해버릴상황에처해있기때문이다.“무서운戱弄이로다/누가와서버려놓은노름판이냐”(＜短調＞).이처럼설정식은해방의기쁨에도취되지않고이념적반복과분열의정세를직시했다.
제2시집≪葡萄≫에는≪鐘≫에서드러났던비판적현실인식이보다구체적인투쟁의양상으로강화되는경향을보인다.이를테면일제의수탈로유랑민이된전재민(戰災民)의문제(＜淫雨＞),미군정의실정에대한비판(＜帝國의帝國을圖謀하는者＞),여성의경제적자립(＜順伊의노래＞)과같은민감한현실적사안들이구체적으로등장하는시편들이다수실려있다.이러한현실주의적경향은제3시집≪諸神의憤怒≫에서도이어진다.이시집에서주된비판의대상은일본제국주의의만행과그잔재들이다.＜弔辭＞에서는일본제국주의가대동아전쟁을수행하기위해우리민족을희생양으로삼은점을고발하고있고,＜鎭魂曲＞에서는서사시적인양식으로동경대지진학살사건을다루며,＜新聞이커?다＞에서는일제의수탈이할퀴고간상흔들을구체적으로기록하는한편그잔재로인한해방정국의혼란상을그려내고있다.
설정식의시들을읽어보면,한자어를남발하고동서고금의문학을두루활용하는등현학적인지식을과시하는면모를보이며게다가알아듣기힘든방언들과비문법적표현들이남발되는난해한대목들이산재한다는점에서대중성에부합하기어려운엘리트지식인의성향이과도하지않은가하는아쉬움이없지않다.그러나이러한점들은이념의격랑을헤쳐나가며이상과현실(태양과해바라기)의동일성을꿈꾼지식인이자예술가인설정식의고민과갈등이얼마나치열했는지를방증하는내면의상흔과다름없을것이다.