International Multidisciplinary Scientific Journal
ISSN: 2091-573X
Vol. 1 Issue 1, June - 2021
www.sciencepublish.org
11
Of course, not all poets had the same fate as Li San, but hopelessness, inner emptiness are characteristic of many major poets of
this period. If the lyrical hero of the 20s mourned in the depths of his fate and the fate of the motherland and did not want to live as
reality forced him, then the lyrical hero of the 30s was not even able to cry.
Modernism has prepared two contrasting trends: Romanticism and the sentimental romanticism that emerged at the end of the
century, on the one hand, and on the other — the opposite. In addition to these trends, in the 30-40s, humanism, classicism, realism
appeared in literature, and in the post — war years-existentialism. Researchers of modern literature of the Republic of Korea pay
attention to the influence of Western philosophical trends in the formation of the image of Korean prose in the 60s and 70s. Among
these ideas, existentialism occupies a special place. [3]
In fact, reading the stories of Kim Tonny (1913-1995), Choi In - hoon (b.1936), and Kim Seung-seok, you notice that, as a rule, the
characters in them are lonely, alienated from the world around them, and all their attempts
to communicate with other people fail. On the example of Kim Seung-seok's story " A trip to Mujin. Travel notes "the Russian
literary critic A. F. Trotsevich tries to show how Western existentialism fits into the Korean "cultural landscape".
The story is written on behalf of the hero. These are diary-type entries about what they saw, about meetings and impressions. The
story has four main events, arranged in a time sequence and defining the structure of the story — it highlights four parts: "The bus
to Mujin", "People meet at night", "The long road along the dam that stretches into the sea", "You leave Mujin".
The hero Yoon Heejun, the director of a successful pharmaceutical company, married to a rich widow, goes on vacation for a week
in Mujin-the city of his childhood, to distract himself from business and change the situation. Mujin stands on the seashore, and
there is nothing to attract attention; its only attraction is the mists. Yoon Heejun meets with school friends who admire his
successful career. At the house of one of them, he meets a music teacher, Ha Insuk. An affair ensues. As a result of just one date,
Yoon discovered that thanks to this girl, his former "pure Self", lost in the care of his career and life's well-being, returned. Yoon
realizes that they should be together and decides to take the girl to Seoul. But the next morning after the meeting, he is woken up
by a telegram from his wife: the business of the company requires an immediate return to Seoul. In desperation, Yoon Heejun
writes a letter to Insook about love, about the impossibility of living without it, asks her to believe him and promises that they will
be happy together in Seoul. The letter was the heartfelt outburst of a man who had finally got rid of his loneliness. The hero rereads
the letter — the reason kills the impulse: Yoon tears up the letter and leaves Mujin. [6]
The story is imbued with the idea of human loneliness in the modern world — a thought developed by the philosophy of
existentialism.
The lonely hero comes to the city of his childhood and sees old friends, but the connections with them have long been lost, and the
meetings do not bring Yoon any sense of joy or satisfaction. He is a stranger to them, an observer from the outside. Perhaps it is no
accident that the author leads the hero through meetings with people who have not found a place in the social world. This is a
meeting in Tag with a crazy woman, whom everyone laughs at and whom no one feels sorry for. This is a meeting with the dead
body of a girl from a wine house, who committed suicide from loneliness and hopelessness (according to the police, a common
case in man).
Only the self-satisfied townsfolk who live according to generally accepted norms, like the hero's school friend, do not feel lonely
here. Grave grave has become so far away for Yoon that even his mother's grave evokes not feelings, but thoughts: here is a truly
reverent son who came to worship his mother's grave in bad weather.
Lonely Ha Insuk. She languishes in the provincial wilderness, where she is mistaken for an "ornament", who also sings hits well.
And she loves the classics, her favorite aria "Madame Butterfly" here remains unclaimed. Insuk is a beautiful, smart girl, but on the
you can't marry her: she is a nobody by her social status (at least that's how Cho, Yoon's schoolmate, assesses her). The heroine
dreams of getting to Seoul to visit friends, she is afraid that this provincial town is just driving her crazy. Maybe the suicide girl on
the seashore that Yoon saw is a hint of the possible fate of Insuk, eventually forgotten by the hero of the story in this backwater.
Yoon Heejun, cold and indifferent to people, suddenly experiences his "being in the world" at night. The hero sees off a beautiful,
extraordinary girl after a party. He and Ha Insuk walk along the riverbank. From the rice paddies, he hears the loud croaking of
frogs, and suddenly he feels as if the frogs ' voices are rising into the sky and turning into twinkling stars. The sounds seemed to
disappear and become the visible radiance of the stars, which approached him and took on a clear, bright outline. Yoon felt as if he
was going mad, as if his heart would break. This sense of self in the Universe that the hero of the Korean story experienced is very
similar to the description of the feeling of unity with the cosmos of the heroine of Albert Camus ' story "The Wife": a lonely
woman in an alien world, the night, the desert, countless stars sliding towards the horizon, and — a sudden sense of community
with the movement of the stars and the vastness of the sky — a feeling that brought her peace. Meeting Insuk brought Yoon back
to the lost world of love and pure relationships. And here is a telegram. It brings the hero back: the stars have gone out, the
experience of his pure, unique Self has disappeared, he is again the manager of a successful company, the same businessman as the
others.
"It seems that in Kim Seung-seok's story, the ideas of Western existentialism are intertwined with Korean cultural ideas, and in
particular with Buddhism. Thus, the scene of the hero's sudden discovery of the infinite distances of the cosmos is very reminiscent
of Buddhist enlightenment, and the story itself is modeled on the Buddhist parable about a lost monk who wished to return to
worldly life. In Korea, on the subject of such a parable in the XVII century, the writer Kim Manjun wrote a whole novel "The
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