동양과 서양의 다리 놓기 : 다이왕수의 삶과 시 Dai Wangshu's Life and Poetry = Laying a Bridge between the East and the West

다국어 초록 (Multilingual Abstract)

The purpose of this study is to illustrate the sources of influence, both the East and the West, in the poetry of Dai Wangshu 戴望舒(1905-1950). Basically, he, one of the members of the early Modernist School, opposed using the Western classical meters promoted by the Crescent School's "formalists" Wen Yiduo and Xu Zhimo, claiming instead that pure poetry can only be 'contemporary' by possessing the expression of mood perceived in modern life.
Dai Wangshu's career as a poet can be divided into three stages, i.e. My Memory 我的記憶(Wode jiyi, 1929) as representative of his first stage, The Draft of Wangshu 望舒草(Wangshu cao, 1933) as second stage, and The Years of Disaster 災難的歲月 (Zainan de suiyue, 1948) as third stage. I argues that the quality of classical poetry, especially the tone and imagery of the late Tang dynasty, provides an excellent means of understanding Dai's poetry in each stage. Despite his voyages to Paris, Lyons, and Spain(1932-1935), we are able to see more emphasis upon the quality of classical poetry even in his poems of third stage, imparting to them a reflective, philosophical, and spiritual emotion. The best example of this focus is "The Rainy Alley" 雨巷("Yu xiang") written by Dai Wangshu probably in the summer of 1927. With its uncertain and fuzzy images, sad moods, mellifluous language, and accordant combinations of words, "The Rainy Alley" has often been quoted as positive proof of Dai's indebtedness to French Symbolism. The poem bespeaks the lonely traveler's deep frustration and endless despair in the rainy alley. Here, the rainy alley suggests the darkness and bitterness of reality in which the lonely traveler hopes to meet "a lilac-like girl nursing her melancholy." Despite Dai's repeated emphasis on sadness or desperate feelings throughout the poem, "The Rainy Alley" ironically exhibits dreamlike beauty, a suggestive lyricism elegantly condensed in fragrances, colors, and sounds. Therefore, what Dai wants to create in the poem is not a direct sorrowfulness but an indirect supernal beauty. Viewed in this light, it goes without saying that this theme and image is still the echo of the late Tang dynasty poetry.
In conclusion, the poetry of Dai Wangshu was greatly influenced by literary movements both outside and within China: the French Symbolist poets and the American Imagists as well as Crescent School and Chinese Symbolist movement of the twenties. Although Dai's poetry filtered out the heavy esotericism and obscurity of the earlier "Symbolists," it inherited their suggestive use of symbols. Similarly, it filtered out the excessive sentimentality of the Crescent School, while inheriting its romantic lyricism. Eliminated the mechanical formality of the Crescent School, this later school inherited some of its musical qualities, such as tonal pattern, rhyme scheme, alliteration, and assonance. Therefore, in many ways, Dai's poetry originated in the balance between the Crescent School and the "Symbolists."

목차 (Table of Contents)

• 1. 들어가는 말
• 2. ≪나의 기억我的記憶≫과 '우항시인雨巷詩人'
• 3. ≪왕수의 초고望舒草≫와 새로운 도전
• 4. ≪재난의 세월災難的歲月≫과 추락하는 시인
• 5. 맺는말