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마광수 ( Kwang Soo Ma ) 한국독서학회 2005 독서연구 Vol.0 No.14
아리스토텔레스는 그의 『시학(詩學)』에서 비극만이 연민과 공포를 통해 관객에게 카타르시스를 준다고 말했다. 이러한 이론은 희극의 가치를 폄하하게 만들어, 특히 해피엔딩을 위주로 하는 동양의 문학작품을 평가절하하게 만들었다. 그러나 한방의학의 체질론을 빌려와 카타르시스를 설명하게 되면 희극과 비극은 동등한 가치를 지니고 있는 것이 된다. 한방의학에서는 사람의 체질은 음(陰)과 양(陽) 둘로 나누는데 음성인(陰性人)은 몸이 차기 때문에 양(陽) 즉 뜨거운 것을 좋아하고 양성인(陽性人)은 몸이 뜨겁기 때문에 차가운 것을 좋아한다. 따라서 희극을 양(陽), 비극을 음(陰)이라고 볼 때, 서양인은 대체로 양성체질이기 때문에 비극을 선호하고 있다는 사실을 알 수 있다. 그러므로 희극(해피엔딩)을 위주로 하는 우리의 고전문학 작품들을 무조건 가치절하 시킬 수는 없는 것이다. 또한 이제마의 ‘사상의학(四象醫學)’이론은 음성인을 다시 태음인(太陰人)·소음인(少陰人)으로 나누고, 양성인을 다시 태양인(太陽人)·소양인(少陽人)으로 나누었다. 이 논문에서는 이러한 체질론에 입각하여 각각의 정신적 치료처방(즉 독서)으로서의 문학작품을 예시하였다. 요컨대 독서행위 또한 하나의 심리치료로서, 각 개인의 체질에 맞는 독서를 해야만 심신(心身)에 유익하다는 것을 밝힌 것이다. Aristotle, in his Poetics, said the tragic drama alone has a cathartic effect on its audience as it helps them to discharge their pent-up emotions through compassion or horror. This theory of his has long disparaged the merits of comedy and beguiled most readers, if not all, into misinterpreting Oriental literary works, especially comic works which end happily. However, if we borrow the genetic constitution theory and apply it to the catharsis theory of tragedy, it becomes evident that comedy is equal to tragedy in every way. In Chinese philosophy, they divide the whole world into two principles― Yin (陰) and Yang (陽). By the same token, in herbal medicine, they divide the genetic constitution of human beings into two types: cold-bodied (陰性人) and warm-bodied (陽性人). As these terms suggest, men with cold bodies (陰性人) prefer warm food or warm drink; those with warm bodies (陽性人) prefer cold food or cold drink and enjoy tragedy. Most Oriental people are cold-bodied and they prefer comedy. This leads us to say we have a good reason to believe that we must not underestimate our classical comic works most of which end happily. In addition, the theory of medical science based upon four human types(四象醫學) proposed by Lee, Je-ma subdivides cold-bodied men (陰性人) into two types: (1) men with cold bodies in larger scale (太陰人) and (2) men with cold bodies in smaller scale (少陰人). It also subdivides the warm bodies men into two types: (1) men with warm bodies in large scale (太陽人) and (2) men with warm bodies in smaller scale (少陽人). In this thesis, I specified literary works that would be helpful to individual readers on the basis of their respective genetic constitution. In short, the activity of reading books can be a mental therapy, which means individuals should choose books that suit their genetic constitution if reading is to be beneficial to each reader.
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마광수(Ma Kwang-Soo) 한국시학회 2005 한국시학연구 Vol.- No.14
For More developed understanding of poetic symbol, there aries a need to classify it into specified criteria. As an illumination on the meaning of existence, symbol is an explanation of the nature of universe and reality into other thing. In this process, it can be divided into two patterns of direct(physical) one and indirect (metaphysical) one in view of the valuation based on relativism and agnosticism respectively. The direct symbol is a kind of metaphor which compares what can be perceived by experience into the concrete things perceivable by senses without any abstract ideas. While the indirect symbol expresses the essential reality that cannot be perceived by experiences through experienced perception and senses. In other words, the former is a rhetorical technique developed in the space of human language of time and space, and the latter is an approach to the supernatural, apocalyptic, metaphysical reality through the similar human language. For example, the conception of god in all religion is an indirect symbol, and the metaphor such as “My heart is a lake” is a direct symbol.
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詩에 있어서의 形而上學的 象徵의 機能 硏究 : -形而下學的 象徵과의 관계를 中心으로-
馬光洙 弘益大學校 1981 弘大論叢 Vol.13 No.-
In order to comprehend the complicated nature of symbol in poetry, it is necessary to define the differences between a metaphysical symbol and a physical one. In a certain view, we may say that metaphysical symbol is not possible separately because, when a symbol is successful, naturally it has metaphysical, transcendental meanings. Nevertheless it is convenient for us to distinguish the two kinds of symbol in our interpretation of symbol in poetry. While profound interpretation of a symbol provides us with a means to understand universal cosmology, its wrong interpretation leads us into a total misunderstanding of poetry. In effect, all the arguments in science and religion are different interpretation of the truth revealed by symbol. In order to comprehend the nature of symbol correctly, we should question whether the symbol belongs to a metaphysical, transcendental and intrinsic world or it belongs to a physical, realistic and phenomenological world. Physical symbol refers to an object perceptible to our senses through experiential modes of expression. We may call this "direct symbol". For example, when we say, "She is a beautiful flower", 'the flower' is a direct symbol of her. On the other hand, metaphysical symbol refers to an abstract object which cannot be perceived by our senses. It may be called "indirect symbol". In other words, physical symbol is a kind of rhetorical skill performed by human language in the physical world of time and space, and metaphysical symbol is an implication of the transcendental world and the secret of being beyoun our experiential perception. The conception of "God" in religion is a good instance of what I call metaphysical symbol. To use metaphysical symbol "Representation". "Representation" in art based on the mimesis principle of Aristotle has been a long tradition of western literature. But true creation is possible not by the "Representation" which copies an object mechanically but by the "Presentation" which reveals the secret of being. Traditionally oriental literature has had primal emphasis on "Presentation" of object-the transcendental experience of creation. In this vew, Korean modern poetry has a very prospect background to develop into highly metaphysical symbolic poetry.
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