정진규 시의 ‘정원’ 과 생태인문학 = The ‘Garden’ in Jeong Jin-Gyu’ s Poetry and the Ecological Humanities

다국어 초록 (Multilingual Abstract)

This article examined issues related to ‘gardens’, which appear consistently in the 18 poetry collections of poet Jeong Jin-Gyu from his first collection to his last and which act as the physical space and mental space of poetry.
In the poetry of Jeong Jin-Gyu, such ‘gardens’ go through three stages, mutually developing and edifying the ecological world and the world of the humanities. The first stage is the period of garden discovery and growth and development through ‘ddurak (garden)’ from the mid-1960s to the early 2000s that can be referred to as the ‘Seoul years’ or 'Suyuri years’. Here, the poet Jeong Jin-Gyu relies on the small ‘ddurak' of his residence and gives birth to an ecological sense along with humanistic sensibility and a mental world and he makes these grow in abundance.
The second stage is the rapid developmental stage of ‘gardens’ through the ‘Anseong period’ in the early 2000s after the return to ‘Anseong’, which was his hometown and place of birth. The poet Jeong Jin-Gyu builds a house called Seokgahun in his returned hometown and birthplace and cultivates and builds a garden of a new level. The largest part of this Seokgahun is not the house as a building that forms the Seokgahun, but the yard’ or ‘garden’, which encompasses the whole and acts as the foundation and center. The garden’ of 'Seokgahun/yard’ during the ‘Ansung period’ is the stage of ripening’ in the history of ‘gardens’ in Jeong Jin-Gyu’s poetry.
Finally, the poet Jeong Jin-Gyu cultivates and opens a garden of another level by changing the ‘seokgahun/yard’ of the Anseong period into 'yulliujeongsa/yard’. In this yuliujeongsa yard or garden, the poet Jeong Jin-Gyu creates a world beyond the humanities of modem meaning, can be called spiritual ecology or ecological spiritualism Here, the poet puts down his superior and intentional human composition as a gardener and becomes a listener of an equal, self-sustaining, and cosmic garden in which “yulliu,” the origin of cosmic logic, works itself. Thus, he is no longer a gardener or garden owner in a general sense at this stage, but a steward of a self-sustaining and cosmic garden who has seen the garden make its own garden.
The accompaniment of ‘gardens’ that appear throughout the entirety of Jeong Jin-Gyu’s poetic life, explorations of gardens, and studies through “gardens” look upon the beautiful results of a poetic mind that reads, enjoys, and passes on the path upon which a poet who originally experienced ecological senses achieves physical expansions from a very small ‘ddurak’ to a larger ‘yard’ and garden along with the heights of a humanistic spirit and spiritual world as they profoundly meet the depths and essence of ‘gardens’ regardless of size.