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The Narrative Strategy in Seo Jeong-ju¡¯s Narrative Poetry - Centering on 3 types of narrator -

(Sungshin Women¡¯s University)Park, Min-Young



One of the main reasons for readers abandoning poetry is because they think that poetry is difficult to understand. Poetry is by its nature vague and ambiguous, which consequently leaves it open to wide possibilities of various interpretations, but at the same time this just as much puts ordinary readers trying to understand it at a disadvantage. In order to catch fleeing readers, the poet Seo Jeong-ju¡¯s strategy was to introduce a novelistic or dramatic ¡®action¡¯ element to his poetry. Indeed, storytelling is used as a narrative strategy. The poet Seo Jeong-ju judged that it is through the splendid medium of the story itself that he could communicate with the reader. From this were born Seo Jeong-ju¡¯s volumes of narrative poetry.
The prerequisites of a narrative poem are a story and a narrator telling the story. In this work, I have presented the narrators of Seo Jeong-ju¡¯s poems, divided into different types according to what kind of narrator tells the story, how the story is told, and what the distinctive characteristics of the stories being told are.
The narrators in Seo Jeong-ju¡¯s poetry can be divided into three types: reporter-narrator, character-narrator, and critic-narrator.
In ¢ò, I have examined the reporter-narrator, focusing on the poem ¡®º£Òç(Tidal Wave)¡¯. The story told by the reporter-narrator is based on personal experience, told in such a way as for readers to feel as if they were there, and the narrator-reporter particularly features strongly in the Chilmajae from childhood.
In ¢ó, focusing on ¡®ÌŽÈÝÓ–(Cheoyong¡¯s Lesson)¡¯ and ¡®ÆÓºÕ¾ÓÊÀÍõ? ´ÈÌà æ¶ÌKÏÉÅ®? ×Ô¼º½B½é¡¯ ("Self-introduction of Goddess Sa-so, Mother of King Park Hyukgeose.")¡¯, I have examined the character-narrator. The character-narrator tells its story by using its character¡¯s persona to act out the characters in the story.
In ¢ô, focusing on ¡¯ÀÏÈË«I»¨¸è(Song of an Old Man Giving a Flower)¡¯ and ¡®Ë®Â··òÈË? ??(Lady Soo-ro¡¯s Face)¡¯, and ¡®Ö¾¹í? ÉƵÂÅ®Íõ? ÆFÊ·(Queen Seonduk and Jigwi¡¯s Love Story)¡¯, I have examined the critic-narrator. The critic-narrator comments on characters¡¯ actions or personality.
Through the narrators in these narrative poems, the poet Seo Jeon-ju could concretely explain what he couldn¡¯t have said in a lyrical self-confessional poem, and effectively convey his message. He could also directly reveal his own views. By telling his emotions through narrative, the poet and reader could share what he intended to communicate. Therefore the narrative of Seo Jeong-ju¡¯s poetry can by all means be seen as a metaphor for the poet¡¯s poetic emotion.
Converting verse to a story also converted a great deal of poetry¡¯s ambiguity and vagueness to clarity. Symbols and ellipses are substituted with explanation. Clarifying and simplifying poetry¡¯s meaning in this way could just as much be seen as breaking away from the essence of what poetry is. However, this one poet¡¯s method of using narrative to overcome the limits of poetry in terms of communication with the reader should be regarded highly. Seo Jeong-ju¡¯s narrative poetry¡¯s narrative strategy, with its similarities to the communicative style of popular media in the modern era, should continue to discussed with interest in the future.