In Kim, Hyeung-Seung's poem, we can find various image groups. Among them, the strongest obsessive one is 'darkness and night' images - that is called the 'web of obsessive metaphor'. This metaphor is the very obsessive one in that it has been formed with 'emotional vestiges' in the unconsciousness. It is very important to analyze the obsessive metaphor for chasing 'theme formation'. A lot of studies for images have been proceeded. The problem is that the studies have been carried out for the individual image, not for the images as a whole. Also, they missed biographical elements that are the very essential part of understanding the meaning and corelation of the images. In this paper I inquire into the meaning and corelation of, chronologically, a series of group images - 'darkness · night', 'black color', 'poet', 'crow' images. First, in the 'darkness · night' image lies unconditional love that does embrace others' sorrow and does not blame others for their faults. In short, the motherhood of salvation lies in the 'darkness ․ night' image. Secondly, as for the 'night' and 'poet' images, there are similarities(metaphor) and adjacencies(metonymy) between them. And it becomes evident for the poet to prefer the 'night' image. As Bachelard says that night dominates a daydreamer, the poet's way of thought, not analytic, like a daydreamer, is kin to the night image. This leads the poet to the reconciliatory outlook on the world. Thirdly, it is time to talk about 'psychic medium of salvation' in the raven image. The poet regards the raven as a 'psychic medium' or 'messenger' that connects this world with the world beyond. The poet has thought the raven as a bird that takes the divine punishment on behalf of human beings. This reflects the Korean folk belief and is linked with the call of a crow without hesitation, which seems to forgive all kind of human faults. Another point from the above discussion is that there exists an ontological similarity between the 'raven' and the 'poet'. The poet sings the raven as a 'wondering poet from the sky' and a 'poet wondering in the wilderness'. As Heidegger says, the poet is a divine messenger and is a being who cries with and sings of others' sadness and pain. The poet identifies himself with the raven. Fourthly, 'darkness·night' images are linked to 'spiritual and religious awakening'. Jonah has the 'cave experience of darkness and confinement'. It is not God's curse, but God's disguised blessing. Jonah cannot see the truth in the light. So God leads Jonah to face the truth in the darkness and then leads him to 'spiritual and religious awakening'. In conclusion, the particular obsessive images of 'night/darkness' have an undercurrent in common : 'divine messenger' and 'salvation'. Why does the poet cling to the 'salvation theme' constantly in a lifetime? The reason is that the 'poet' must have a reconciliatory outlook on the world and be a 'divine messenger'.

In Kim, Hyeung-Seung's poem, we can find various image groups. Among them, the strongest obsessive one is 'darkness and night' images - that is called the 'web of obsessive metaphor'. This metaphor is the very obsessive one in that it has been formed with 'emotional vestiges' in the unconsciousness. It is very important to analyze the obsessive metaphor for chasing 'theme formation'. A lot of studies for images have been proceeded. The problem is that the studies have been carried out for the individual image, not for the images as a whole. Also, they missed biographical elements that are the very essential part of understanding the meaning and corelation of the images. In this paper I inquire into the meaning and corelation of, chronologically, a series of group images - 'darkness · night', 'black color', 'poet', 'crow' images. First, in the 'darkness · night' image lies unconditional love that does embrace others' sorrow and does not blame others for their faults. In short, the motherhood of salvation lies in the 'darkness ․ night' image. Secondly, as for the 'night' and 'poet' images, there are similarities(metaphor) and adjacencies(metonymy) between them. And it becomes evident for the poet to prefer the 'night' image. As Bachelard says that night dominates a daydreamer, the poet's way of thought, not analytic, like a daydreamer, is kin to the night image. This leads the poet to the reconciliatory outlook on the world. Thirdly, it is time to talk about 'psychic medium of salvation' in the raven image. The poet regards the raven as a 'psychic medium' or 'messenger' that connects this world with the world beyond. The poet has thought the raven as a bird that takes the divine punishment on behalf of human beings. This reflects the Korean folk belief and is linked with the call of a crow without hesitation, which seems to forgive all kind of human faults. Another point from the above discussion is that there exists an ontological similarity between the 'raven' and the 'poet'. The poet sings the raven as a 'wondering poet from the sky' and a 'poet wondering in the wilderness'. As Heidegger says, the poet is a divine messenger and is a being who cries with and sings of others' sadness and pain. The poet identifies himself with the raven. Fourthly, 'darkness·night' images are linked to 'spiritual and religious awakening'. Jonah has the 'cave experience of darkness and confinement'. It is not God's curse, but God's disguised blessing. Jonah cannot see the truth in the light. So God leads Jonah to face the truth in the darkness and then leads him to 'spiritual and religious awakening'. In conclusion, the particular obsessive images of 'night/darkness' have an undercurrent in common : 'divine messenger' and 'salvation'. Why does the poet cling to the 'salvation theme' constantly in a lifetime? The reason is that the 'poet' must have a reconciliatory outlook on the world and be a 'divine messenger'.

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