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Baek Seok’s poem « White Wall » embodies the poet’s deep introspection and existential struggle during a time marked by oppression and personal hardship. Born in 1912 in Jeongju, Baek Seok lived through the Japanese occupation of Korea, a period that influenced both his life and poetry profoundly. This historical context is crucial for understanding « White Wall, » which was published in 1941, a time when Baek Seok was grappling with the realities of living away from his hometown.
The poem captures the experience of an individual separated from his homeland, yearning for the past while confronting the bleakness of his present. The « white wall » serves as a medium for this internal conflict. It reflects not only the poet’s current solitude but also becomes a space where memories of his mother and his beloved arise. These memories, however, are not mere nostalgia; they serve to contrast his present state with the life he has lost or cannot attain. The white wall is thus a blank canvas on which his internal emotions are projected, revealing the poet’s struggle between resignation and the desire for transcendence.
In the context of Baek Seok’s life and works, the poem is emblematic of his broader literary exploration of themes like nostalgia, national identity, and existential reflection. Baek Seok often employed imagery tied to his northern Korean hometown and used his poetry to evoke a sense of longing for a simpler, more authentic past. His early poetry frequently took the form of travel and wandering poems, reflecting his own experiences as a wandering intellectual during a turbulent period in Korean history. In « White Wall, » this wandering is more psychological than physical, an exploration of the mind’s journey through memory and existential contemplation.
The poem’s structure reveals a progression in the speaker’s internal state. Initially, he is overwhelmed by solitude and the harsh realities of his life, symbolized by the dimly lit, confined space. He reflects on his mother’s enduring struggles and his beloved’s distant life, illustrating his sense of alienation and loss. However, the poem moves beyond mere lamentation. It transforms into a form of self-reflection and acceptance, suggesting a philosophical approach to suffering. The speaker acknowledges his existence as inherently tied to poverty, loneliness, and sorrow, yet he frames these conditions as aspects of a loftier state of being. The poem concludes with a powerful assertion that these elements of suffering are imbued with a kind of spiritual nobility, aligning the poet with other figures who lived in « overflowing love and sorrow. »
The analysis provided contextualizes Baek Seok’s philosophical stance within the historical and cultural backdrop of Korea under Japanese occupation. During this time, Korean intellectuals faced severe suppression, poverty, and a sense of national disintegration. However, Baek Seok’s poetry refrains from descending into nihilism. Instead, it embodies a kind of self-suggestive resilience—a determination to maintain dignity and a sense of purpose despite oppressive circumstances. In « White Wall, » the poet engages in a form of self-affirmation, transforming his suffering into a source of existential depth rather than despair.
The poet’s progression from desolation to a resolute acceptance and even a sense of transcendence can be seen as a rejection of mere resignation. His embrace of his « lot » in life is not passive surrender but rather a conscious, dignified acceptance that elevates his suffering to a universal, almost spiritual, experience. This aligns with the provided analysis that describes Baek Seok’s attitude not as resignation but as a form of self-suggestion, a way of fortifying oneself against the void of nihilism. Baek Seok suggests that while one must live within their means and circumstances, this does not preclude the pursuit of higher meaning and values. By doing so, he highlights the importance of inner strength and the cultivation of a personal philosophy that can withstand life’s adversities.
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