이 논문은 정지용의 시와 동시를 유교적 사유로 접근한 것이다. 정지용의 시정신은 동양사상으로 접근해야 한다는 생각은 여러 사람들에 의해 이미 정설로 굳혀지고 있다. 그러나 그 정신을 유교사상에 의해 규명하려고 한 시도는 많지 않았다. 이 논문에서는 유교사상의 두 축, 즉 ‘의(義)사상’과 ‘경(敬)사상’ 중 ‘경(敬)사상’으로 그의 시정신을 규명하려 했다. 특히 정지용의 동시는 이런 점에서 매우 중요하다. 측은지심의 근원을 볼 수 있기 때문인 것이다. 또한 시정신을 바로잡아 가기 위한 객토작업이 동시 쓰기라는 것이 이 글에서 부수적으로 밝히려 했다.

Poems by Jeong Jiyong are focused on expressing the piety, fascination and reverence in nature and the world. He used to transform ordinary images into his own poetic words. The authentic vitality of his language originates from the fact that he instantly picks up on everything, rather than relying on abstraction. Languages flowing from childlike innocence are concrete and pertinent. ““Strong traction to tangibility…….we look for the utmost definiteness of beings in poems rather any other languages””. This could be seen as a manifesto of his expectancy in this pursuit. As he wrote ““Printed as a flower pattern”” in his poem 『Back Rock Dam』, he couldn’t be more precise in choosing his poetic words. The innocence of a child’s mind is comparable to the maximized purity sustaining the original nature out of the Seven Passions. Genuine Innocence and purity comes out when whatever objects are projected as the spring of wonders, and admiration leads you to inner appreciation. Defining childlike innocence as “truthful thought and feelings flowing from the inner world without any attachment to external restraints and interference” can be perceivedthat the definition itself puts certain limits on boundaries. I would rather put “human being’s natural and physiological function which reflects psychological needs and desire, the primitive personality comes from naivety of human beings” to open the concept toward liberalness. His childlike innocence can be the minimized desire and demand of human beings. We find some people designate Jeong Jiyong’s work as scenic poems and concern about the direction he took in his creation of poems. “Even though the serenity and lucidity of his pursuits are meaningful due to their spiritual fundamentals, the possibility of denying the instinctual energies concealed in deep consciousness can cut the corner to the wide and bountiful world.” I consider their concerns as groundless. Poets who are easily fascinated by the wonder of nature can be said to have a lively sense. Accordingly, those readers who are touched by these poems are living with that sense as well. Those who witness their sense in full vitality never deny their own energy and explore the wonders of the world. The only shortcoming would be his tendency toward nature in the time of barbarity during Japanese occupation, and being less concerned for the dignity of human beings. In human beings’ position, as nature itself exists for human beings, putting priority on the life of human beings should be considered first. In that term, his version of childlike innocence is different from the core value of innocence by Yoon Dongju.

Poems by Jeong Jiyong are focused on expressing the piety, fascination and reverence in nature and the world. He used to transform ordinary images into his own poetic words. The authentic vitality of his language originates from the fact that he instantly picks up on everything, rather than relying on abstraction. Languages flowing from childlike innocence are concrete and pertinent. ““Strong traction to tangibility…….we look for the utmost definiteness of beings in poems rather any other languages””. This could be seen as a manifesto of his expectancy in this pursuit. As he wrote ““Printed as a flower pattern”” in his poem 『Back Rock Dam』, he couldn’t be more precise in choosing his poetic words. The innocence of a child’s mind is comparable to the maximized purity sustaining the original nature out of the Seven Passions. Genuine Innocence and purity comes out when whatever objects are projected as the spring of wonders, and admiration leads you to inner appreciation. Defining childlike innocence as “truthful thought and feelings flowing from the inner world without any attachment to external restraints and interference” can be perceivedthat the definition itself puts certain limits on boundaries. I would rather put “human being’s natural and physiological function which reflects psychological needs and desire, the primitive personality comes from naivety of human beings” to open the concept toward liberalness. His childlike innocence can be the minimized desire and demand of human beings. We find some people designate Jeong Jiyong’s work as scenic poems and concern about the direction he took in his creation of poems. “Even though the serenity and lucidity of his pursuits are meaningful due to their spiritual fundamentals, the possibility of denying the instinctual energies concealed in deep consciousness can cut the corner to the wide and bountiful world.” I consider their concerns as groundless. Poets who are easily fascinated by the wonder of nature can be said to have a lively sense. Accordingly, those readers who are touched by these poems are living with that sense as well. Those who witness their sense in full vitality never deny their own energy and explore the wonders of the world. The only shortcoming would be his tendency toward nature in the time of barbarity during Japanese occupation, and being less concerned for the dignity of human beings. In human beings’ position, as nature itself exists for human beings, putting priority on the life of human beings should be considered first. In that term, his version of childlike innocence is different from the core value of innocence by Yoon Dongju.

childlike innocence, purity, veneration, chidren's verse, lucidity