Between Motherhood and Modernity: Re-reading Hwang Sŏg-u’s Poetry from the Perspective of Feminism and World Literature

Hwang Sŏg-u (1895-1959) devoted himself to the intricacies of symbolist poetry, aiming to encapsulate the essence of the spirit world within his verses. His fascination with the transcendental extended to the portrayal of women as sacred beings with spiritual significance, eschewing the prevalent eroticism of his era. While traces of eroticism emerge in his initial poetry collection Chayŏn Song (Nature Song 1929), framed through the cyclical principles of nature, even in these instances, female eroticism subtly gives way, exposing the confines of his limited perception of women. By the end of the 1920s, the combination of symbolism, which had fallen behind the trend of the times, and motherhood, which was denigrated as an object of overcoming the modernization period, failed to find an effective breakthrough in Hwang's literary world. This is because the emphasis on motherhood is often viewed as conflicting with the ideals and characteristics associated with modernity. Modernity, often characterized by progress, individualism, and technological advancements, may be perceived as prioritizing certain aspects that seemingly diverge from traditional roles and values, such as the emphasis on traditional motherhood norms. The contrast lies in how societal expectations and attitudes toward motherhood, often rooted in more traditional roles, may be perceived as at odds with the evolving principles and priorities of a modernized society. However, Hwang's emphasis on motherhood can be reconsidered in his literary world. Regardless of whether he espoused anarchist or symbolist ideals, the enduring significance of maternalism persists in his literary world, continually underpinning the emphasis on spirituality. This article proposes that to enhance our comprehension of Hwang's literary world, it is crucial to focus on his fixation with motherhood.