This study proposes to examine the poetic embodiment of 'Samda' and 'Dolharbang'. The examined poets, through their artistic imagination, shift the meaning of 'Samda' from the common sense to newly embodied figures. The fresh meanings are as follows. 'Stone' is the object living for the weak, the origin from which human longings are sustained and the guard of the island. 'Wind' is the central force that frees modern men from their inner exclusiveness and shutdown. 'Wind' is also 'han'(regrets) which Chejuean people bear. Also, Chejuean wind plays a role in curing 4·3's pain. Chejuean women or 'haenya'(woman divers) is described as the subject of production. In the poetic description of 'Dolharbang,' it is the guardian god. It is also seen as the object dauntlessly protecting itself regardless of social change, which symbolizes Chejuean people waiting for something. The appearance of 'Dolharbang' sometimes gives them humor and laugh.

This study proposes to examine the poetic embodiment of 'Samda' and 'Dolharbang'. The examined poets, through their artistic imagination, shift the meaning of 'Samda' from the common sense to newly embodied figures. The fresh meanings are as follows. 'Stone' is the object living for the weak, the origin from which human longings are sustained and the guard of the island. 'Wind' is the central force that frees modern men from their inner exclusiveness and shutdown. 'Wind' is also 'han'(regrets) which Chejuean people bear. Also, Chejuean wind plays a role in curing 4·3's pain. Chejuean women or 'haenya'(woman divers) is described as the subject of production. In the poetic description of 'Dolharbang,' it is the guardian god. It is also seen as the object dauntlessly protecting itself regardless of social change, which symbolizes Chejuean people waiting for something. The appearance of 'Dolharbang' sometimes gives them humor and laugh.

regional symbol, literardy reinterpretation, literary geography, poetic embodiment, literary viewpoint