추가 적립 안내

지식을만드는지식 시선집 『박성룡 시선』. 일제강점기에 태어나 전쟁 직후 작품 활동을 시작한 시인 박성룡은 1950년대 시문학사에서 전통주의 시인으로 분류되곤 한다. 그는 비주류 중에서도 자신만의 독특한 시 세계를 보여 주었다. 서정적이고 전통주의적이면서도 현대적인 언어 감각을 지니고 있어 대상을 치밀하고 섬세하게 전면화했다.

지식을만드는지식 ‘한국 근현대시 초판본 100선’은 점점 사라져 가는 원본을 재출간하겠다는 기획 의도에 따라 한국문학평론가협회에서 작가 100명을 엄선하고 각각의 작가에 대해 권위를 인정받은 평론가들을 엮은이로 추천했다. 엮은이는 직접 작품을 선정하고 원전을 찾아냈으며 해설과 주석을 덧붙였다.
각 작품들은 초판본을 수정 없이 그대로 타이핑해서 실었다. 초판본을 구하지 못한 작품은 원전에 가장 근접한 것을 사용했다. 저본에 실린 표기를 그대로 살렸고, 오기가 분명한 경우만 바로잡았다. 단, 띄어쓰기는 읽기 편하게 현대의 표기법에 맞춰 고쳤다.

일제강점기에 태어나 전쟁 직후 작품 활동을 시작한 시인 박성룡은 1950년대 시문학사에서 전통주의 시인으로 분류되곤 한다. 전후의 불안과 허무를 노래하던 당대 주류 경향 한편에는 내면세계로의 침잠과 존재의 탐구를 서정적인 어조로 노래하던 시인들이 있었고, 박성룡은 비주류 중에서도 자신만의 독특한 시 세계를 보여 주었다. 서정적이고 전통주의적이면서도 현대적인 언어 감각을 지니고 있어 대상을 치밀하고 섬세하게 전면화했기 때문이다.
오랜 기자 생활과 정년 이후 생활의 변화가 그의 견고한 시적 구조에도 변화를 주었지만 언제나 시를 통해 대상, 나아가 우주의 근원과 본질을 바라보고자 했던 태도는 지속되었다. 그러한 시인으로서의 자세가 현대적인 언어 감각을 지닌 서정 시인으로서 박성룡의 이름을 한국 시문학사에 남기게 했을 것이다.

가을에 잃어버린 것들
郊外·····················3
능금·····················6
풀잎·····················7
FALL····················10
花甁 風景··················12
바람 부는 날·················14
庭園····················16
霧雨····················18
이슬····················20
손·····················22
楊貴妃꽃··················26
錯覺 一點··················28
바다에서··················29
車窓 風景··················31
가을에 잃어버린 것들·············33
果木····················35
結論····················36
白紙····················38
가을을 듣고 그리기에는············40
倚子 風景··················42
昆蟲學者··················44
抱擁····················45
家族展···················47
處署記···················49
어느 시골길에서···············51
向日性···················53
메밀꽃···················56
어린이 時間·················57
겨울 대낮··················59
發病記···················61
十二月···················63
自畵像···················65
가을 序說··················67
散策길에서·················69
國際空港 近處에 滿發한 코스모스·······71
어느 老詩人에게···············73

白瓷를 노래함
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해설····················133
지은이에 대해···············143
엮은이에 대해···············148

(9쪽) ＜풀잎 II＞

꽃보다
고운 이름.

흙보다
가까운 이름.

풀잎이어.
아 너 홀로
살아 있는 이름이어.