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2021년 12월 27일자 미주 뉴욕판 중앙일보 오피니언 [아름다운 우리말] 칼럼 '어깨춤이 절로 나다' 필자 조현용 경희대학교 교수는 "음악이 연주자와 청중으로 명확히 구분이 될 수 있다면 춤의 경우에는 추는 이와 보는 이의 구별이 불분명"하다며 "춤을 추는 사람은 춤 속에서 무아지경(無我之境)을 경험"하게 되고 "나와 대상의 경계가 사라지는 것"으로 "이를 물아일체(物我一體)라" 하는데 "무아지경이나 물아일체나 모두 인위적인 것이 아니라 자연스러운 것" 으로 "둘이 아닌 경지 즉 불이(不二)의 경지라고 할 수" 있다고 한다.

'어깨춤이 절로 나다'

음악이 연주자와 청중으로 명확히 구분이 될 수 있다면 춤의 경우에는 추는 이와 보는 이의 구별이 불분명합니다. 더 정확히 말하면 일체감을 느끼게 되죠. 춤을 추는 사람은 춤 속에서 무아지경(無我之境)을 경험하게 됩니다. 무아지경(無我之境)의 사전상의 정의는 ‘정신이 한곳에 온통 쏠려 스스로를 잊고 있는 경지’이지만 원래 무아지경은 나와 나 아닌 것의 경계가 사라지게 되는 경험입니다. 춤을 보는 사람 역시 다른 의미에서 무아지경을 경험합니다. 나와 대상의 경계가 사라지는 것입니다. 이를 물아일체(物我一體)라고 합니다. 무아지경이나 물아일체나 모두 인위적인 것이 아니라 자연스러운 것입니다. 둘이 아닌 경지 즉 불이(不二)의 경지라고 할 수 있습니다. 

우리말에서 ‘절로 나다’라는 표현이 사용되는 상황이 있습니다. 대표적인 경우는 ‘한숨, 눈물’ 등이 있습니다. 주로는 걱정이나 슬픔의 경우에 사용됩니다. 참으려고 해도 참을 수 없는 상황이죠. 물론 한숨이나 눈물은 우리의 육체와 심리에 유익합니다. 한숨은 막혀서 답답한 숨을 뚫어주는 것입니다. 한숨은 크게 쉬는 숨이라는 의미입니다. ‘한’은 ‘크다’는 뜻이죠. 한숨은 답답할 때만 쉬는 게 아닙니다. 안도의 한숨이라는 말에서도 알 수 있듯이 걱정에서 풀려나왔을 때도 한숨을 쉽니다. 눈물도 비슷합니다. 슬픔의 눈물도 있지만 기쁨의 눈물도 있습니다. 우리의 감정은 상호적입니다. 반대편에 있는 듯이 보이나 서로 통합니다. 

우리의 춤은 ‘절로 나다’라는 표현에 잘 맞는 예술입니다. 흥겨운 음악이 나오면 나도 모르게 어깨가 들썩입니다. 어깨춤이 나오는 것이죠. 우리말에서는 기쁜 상태를 ‘어깨춤이 절로 난다’고 표현합니다. 그만큼 춤은 우리의 기쁨을 표현하는 행위입니다. 누군가 춤을 추면 절로 나오는 춤은 추는 이의 모습과 하나가 됩니다. 추는 이의 손동작에 따라 내 손도 올라가고, 내려오고, 곡선을 그립니다. 발도 마찬가지죠. 자연스레 리듬을 타게 됩니다. 어깨춤이 절로 나오는 공연이 좋은 공연입니다. 보는 사람과 추는 사람이 하나가 되는 춤이 좋은 것입니다. 역시 불이의 경지입니다.   

춤은 몸을 움직인다는 점에서 역동적입니다. 노래나 연주도 감정을 위로하지만 육체적인 측면에서는 춤을 따라갈 수 없습니다. 춤은 손과 발, 머리, 허리, 몸을 움직이는 예술입니다. 느리게 펼쳤다가 빠르게 되감기도 하고. 발을 구르며 달리기도 합니다. 조금만 지나도 몸에 땀이 흐르고, 몸과 마음속에 담긴 잡념이 사라집니다. 그 순간 나를 잊는 것입니다. 추는 이의 카타르시스와 엑스터시의 상태가 보는 이에게 전달되고, 보는 이의 춤과 움직임이 다시 추는 이의 감정 속으로 들어옵니다. 춤은 추는 이에게도 보는 이에게도 치유가 됩니다. 

하는 사람이나 보는 사람이 같은 감정을 공유하게 되는 것을 거울 효과라고 합니다. 예를 (들어) 한 아이가 울면 다른 아이도 웁니다. 인간의 가장 기본적인 감정 공유의 상태입니다. 노래를 듣고 흥얼거리게 되는 것이나, 춤을 보면서 나도 모르게 춤을 따라하는 것은 모두 거울 효과라고 할 수 있습니다. 거울 효과의 핵심은 감정의 공유(共有)라는 점에서 춤을 통해 감정이 공유되고 이입(移入)되는 경험을 하게 되는 겁니다. 

한국 음악의 시작은 무속에 닿아 있습니다. 무속의 몸짓과 행위가 음악을 만나서 춤으로 형상화되었다고 할 수 있습니다. 무속에서 춤은 치유와 관련이 됩니다. 춤을 추는 개인에게도, 춤을 보는 사람에게도 치유였습니다. 우리 모두 춤을 추면서, 보면서 어깨춤이 절로 나기 바랍니다. 행복하기 바랍니다. 

<조현용 / 경희대학교 교수>

소년시절부터 내가 가장 좋아한 사자성四字成語 고사성어故事成語로 '호연지기浩然之氣'가 있다. 그런데 2013년 11월 26일자 중앙일보 백성호 기자와의 인터뷰에서 박석무 다산연구소 이사장의 다음과 같은 해석을 접하고 나는 흔연작약欣然雀躍(기뻐하며 참새처럼 뛴다는 뜻으로, 너무나 좋아서 뛰며 기뻐한다는 의미) 환희작약歡喜雀躍 환호성歡呼聲을 내질렀다.

"다산茶山(정약용丁若鏞)은 '호연지기(浩然之氣)'란 말을 잘 썼다.  그건 높은 산에 올라가 함성(喊聲)을 지르는 게 아니다.  다산은 자신이 아는 걸 행동으로 옮기는 게 '호연지기'라 했다.  그럴 때 우리는 기쁨을 누릴 수 있다.  그게 다산이 말한 행복이다."

유네스코UNESCO는 2012년프랑스 사상가 장자크 루소 Jean-Jacques Rousseau(1712-1778), 프랑스 작곡가 클로드 드뷔시 Claude Debussy (1862-1918), 독일 작가 헤르만 헤세 Hermann Hesse(1877-1962)와 함께 다산 정약용(1762-1836)을 기념 인물로 선정했고 동양에선 다산이 유일했다.

그가 세운 수원 화성은 유네스코 세계문화유산으로 등록돼 있고 이제 다산은 세계가 평가하는 인물이 되었다.  

동서양을 막론하고 자고이래로 실천궁행實踐躬行하는 사람은 행동으로 말한다.  어린애들도 말은 귀로 듣고 배우지만 행동은 눈으로 보고 배운다. 동양 유학에서 말하는 수기치인修己治人과 서양에서 얘기하는 솔선수범率先垂範(Lead by Example)이 스스로가 전범典範이 되라는 것이리라.

KBS 1997년 10월 30일 방영된 [이것이 인생이다] '6박 7일간의 사랑'을 나는 어젯밤 유튜브로 너무도 감명 깊게 보고 그 감동의 여운餘韻이 가시지 않고 

큰 울림으로 내 가슴 속에 진동하고 있다.

자, 이제, 2020년 4월 1일과 2021년 8월 17일자 코스미안뉴스에 올린 우생의 칼럼 글 둘 우리 재음미再吟味해볼거나.

[이태상의 항간세설] '덩실덩실 춤출 뿐이리오'

2007 년에 전자책으로 나오고 2014 년 개정판으로 다시 발간된 ‘플라멩코 이야기’가 있다. 고향인 마산에서 자유기고가로 활동하고 있는 ‘카페 소사이어티’의 작가 김준형씨가 영어로 플라멩코와 판소리의 만남을 자전적 소설형식으로 쓴 ‘플라멩코 여정(Flamenco Journey)’의 한국어판이다. ‘역자의 변’에서 저자 김준형 씨는 이렇게 적고 있다.

“이 플라멩코 이야기는 글 속의 ‘나’, jh라는 이니셜의 한 여행자가 미국인 플라멩코 댄서 로레나(Laurena)에게 보낸 편지들의 번역문이다. 그가 스페인 여행 중에 그녀에게 보낸 이메일을 필자가 우리말로 번역하여 이에 살을 적당히 붙여 편집하였던 것이다. 이 글은 jh의 편지 모음이므로 엄격히 말해 그의 창작물이란 뜻이다. 필자는 단지 그의 편지들을 우리말로 충실하게 옮긴 역자일 뿐이다.”

스페인의 한 애송시 ‘어느 사랑의 이야기 Hisoria de un Amor)’의 일부다.

"모든 아름다운 것과 모든 어두움을 일깨워 준,

세상 그 어디에서도 다시는 있을 수 없는,

어느 사랑 이야기.

그 밝은 빛으로 나의 삶을 뒤흔들고,

이렇게 다시 그걸 거두어 가버리다니

아, 삶은 이토록 어둡기만 할까!

나 이제 살 수가 없어, 너의 사랑 없이."

이 같은 스페인 플라멩코의 노래 속에, 그 춤꾼 로레나의 매력적인 손놀림과 발놀림에 폭 빠진 여행자는 죽는 그 날까지, 아니 죽어서도 “우물보다, 그리고 바다보다 더 깊은 플라멩코”와 로레나를 끝내 잊지 못하리라. 

한마디로, 열정의 플리멩코와 우리나라 남도의 신명나는 설장고와의 혼魂적 만남의 과정을 그린 러브스토리다.

유럽 서남단의 이베리아반도, 스페인의 남부 안달루시아 지방 집시의 한恨, 그 떨리는 소리, 아이! 아이! Ay! 깊은 노래가 우리 판소리와 너무 닮아서일까. 플라멩코를 추는 여성 댄서와 한국인 남성 여행객이 스스로의 의지와는 상관없이 운명적으로 만나 서로 상대의 문화에 깊이 공감하게 된다. 소설에는 주인공인 한국 남성이 플라멩코의 마력에 사로잡혀 스페인 그라나다와 세비야 등을 여행하면서 김민기의 ‘아침이슬’을 번역한 곡에 맞춰 댄서가 플라멩코를 추는 장면도 나온다. 그리고 천상병 시인의 ‘귀천歸天’을 플라멩코로 춰달라는 부탁까지 하게 된다.

여기에서 우리 생각 좀 해보자.

집시의 한恨을 관능적인 춤으로 발산하는 것이 플라멩코라면 아프리카 대륙에서 노예로 끌려온 흑인들의 아픔을 노래한 넋두리가 흑인영가 Negro Spiritual일 테고 같은 나라 백성이면서도 반상적서班常嫡庶 계급으로 나뉘어 종노릇 해온 민초民草들의 슬픔을 승화시킨 것이 판소리가 아니었던가.

어디 그뿐 일까. 몇 년 전 스페인의 사회주의 정부 때 에스트레마두라Extremadura 지방에선 한바탕 미디어 소동이 났었다. 공립학교 성교육 교과과정에 13세 이상의 소년 소녀들을 위한 자위행위 워크숍 Masturbation Workshop 을 도입했기 때문이었다.

이 프로그램은 ‘즐거운 쾌감은 네 손 안에 있다 Pleasure is in your hands’ 라고 불렸다. 항의가 빗발치자 이 지방 당국은 미성년 아동들의 임신과 더 큰 불행을 예방하기 위한 성교육性敎育의 일환으로 ‘자위행위 수업Masturbation Class’이 필요하다고 주장했다. 그뿐만 아니라 안달루시아 지방정부도 같은 프로그램을 도입하겠다고 발표했다. 그러자 친대중당 Popular Party 단체에서 법적으로 이 프로그램을 폐기시키려고 했으나 이 지방검찰청에서 항의를 접수조차 해주지 않아 실패했다. 흥미롭게도 이 법적 도전은 ‘깨끗한 손 Clean Hands’이라고 명명되었었다.

이에 대해 페루의 2010년도 노벨문학상 수상작가 마리오 바르가스 요사Mario Vargas Llosa (1936 - )는 미국의 지성 월간지 하퍼스 매거진Harper’s Magazine (July 2015)에 실린 ‘성애예술性愛藝術 ARS EROTICA-The Art of Sexual Love’이란 에세이에서 아래와 같이 술회述懷하고 있다.

“옛날 가톨릭 학교를 다닐 때 성기性器를 잘못 만지면 눈멀고 폐병 걸리며 미치게 된다는 신부님들 말씀에 잔뜩 겁먹었었던 내 어린 시절로부터 60여 년이 지나 학교에서 용두질 수업시간이 생기다니 이것이 진보다. How things have changed since my childhood, when the Salesian fathers and La Salle brothers who ran the schools scared us with the idea that ‘improper touching’ caused blindness, tuberculosis, and insanity. Six decades later schools have jerking off classes. Now that is progress.”

그는 이어서 이렇게 묻는다.

“그러나 정말 그럴까? 이와 같은 프로그램의 좋은 의도와 원치 않는 임신사례를 줄이는데 도움이 될 수 있음을 나는 인정한다. 하지만 전통적으로 섹스Sex에 관한 미신迷信과 거짓말 그리고 잘못된 편견으로부터 어린애들을 해방시켜주는 대신 이런 마스터베이션 워크숍Masturbation Workshop 은 그러지 않아도 성행위性行爲가 별 것 아닌 것으로 취급되는 현대사회에서 그 더욱 하찮은 짓으로 치부置簿하게 될 우려가 있다는 것이다. 오랫동안 인간의 상상력과 창의성을 키워준 쾌락의 원천을 미래세대로부터 박탈해 성행위를 아무런 신비감도 정열도 없이 단순한 신체적 운동에 지나지 않는 것으로 여기게 된다는 말이다. But is it really? I acknowledge the good intentions behind the program and I concede that campaigns of this sort might well lead to a reduction in unwanted pregnancies. My criticism is of a sensual nature. Instead of liberating children from the superstitions, lies, and prejudices that have traditionally surrounded sex, might these masturbation workshops trivialize the act even more than it has already been trivialized in today’s society? Might they continue the process of turning sex into an exercise without mystery, disassociating it from feeling and passion, and thus depriving future generations of a source of pleasure that has long nurtured imagination and creativity?”

자, 이쯤 해서 우리 국경과 이념, 종교와 신앙, 인종과 성 정체성 등 모든 인위적人爲的인 경계를 허물고 전 인간가족을 아우르는 플라멩코 여정旅程에 올라보리라.

아시안 최초로 ‘나 홀로’ 마라톤으로 2015년 2월 1일 캘리포니아 산타모니카 해변을 출발, 114일만인 5월 25일 미美대륙횡단 3,150마일(약 5040km) 거리를 완주, 워싱톤 DC 백악관 앞에 도착한 강명구(당시 57세) 씨는 그동안 뉴욕 중앙일보에 연재해온 칼럼 ‘삶의 뜨락에서: 대륙횡단 마라톤 일기’의 ‘백악관에서 통일을 생각함’이란 글을 다음과 같은 말로 끝맺었다.

“통일의 경비는 대륙횡단 마라톤을 하는데 지불한 경비보다 더 엄청난 경비가 들지도 모른다. 그러나 휴전선이 무대의 막이 걷히듯 열리는 순간 우리의 새로운 역사의 무대가 펼쳐질 것이다. 한반도는 세상을 널리 이롭게 한다는 ‘홍익인간’ 이라는 공연이 펼쳐지는 커다란 극장이 될 것이다. 우리 조상들은 복福을 기원하는 마음으로 조각보를 만들었다. 통일은 비슷한 사람끼리 뭉치는 것이 아니라 우리 안의 모든 이질적인 것들을 공들여 마르고 꿰매어 무지갯빛 조각보를 만드는 것이다.”

몇 년 전 마크 저커버그Mark Zuckerberg (1984 - ) 페이스북 최고경영자 CEO of Facebook 가 가장 기대를 걸고 있는 미래 커뮤니케이션 유형으로 텔레파시 telepathy 를 꼽았다는 보도가 있었다.

“조만간 기술을 이용해 내 생각 모두를 상대방에게 직접 보낼 수 있게 되리라고 나는 믿는다. 여러분이 뭔가 생각하면 여러분의 친구들이 즉각 이를 알게 되는 것”이라고 2015년 6월 30일 페이스북을 통해 ‘온라인 타운홀 미팅 Online Town Hall Meeting’을 열고 페이스북 사용자들과 문답 형식의 대화를 진행하면서 마크 저커버그는 밝혔다.

2014년 11월부터 한 달에 한 번꼴로 페이스북 사용자들과 직접 소통하기 위해 온라인 타운홀 미팅을 열어왔는데 이날 행사에는 영국의 세계적 천체물리학자 스티븐 호킹 Stephen Hawking (1942-2018)과 할리우드 배우 출신 전前 캘리포니아 주지사인 아놀드 슈워제네거 Arnold Schwarzenegger (1947 - ), 허핑톤 포스트 Huffington Post 창립자인 애리애나 허핑톤  Arianna Huffington (1950 - ) 등 유명인사 다수가 참여했다.

“중력과 다른 힘들을 통합하는 이론을 알고 싶다”는 호킹은 저커버그에게 “당신도 과학적으로 궁금한 것들이 있는가. 있다면 뭔가”라고 묻자 “어떻게 하면 우리는 영원히 살 수 있을까. 어떻게 하면 사람들이 지금보다 100만 배 더 많은 것을 배우도록 할 수 있을까” 등이 궁금하다고 저커버그는 대답했다.

그러면서 저커버그는 페이스북이 최근 시작한, 모바일 웹 the mobile web 보다 10배나 빠른 뉴스 서비스 ‘인스턴트 아티클스 Instant Articles’가 앞으로 뉴스 구독자들의 주요 소비 경로가 될 것이라고 내다 봤다. 최근 발표된 퓨 리서치 Pew Research 조사에 따르면 미국 50대 미만 세대는 뉴스를 구독할 때 TV나 신문, 뉴스 사이트, 인터넷 포털보다 페이스북을 더 많이 이용하고 있는 것으로 나타났다.

한편 컴퓨터 과학자들은 머지않아 그동안 사람이 하던 다른 언어들 사이의 통역이나 번역 서비스를 기계가 더 신속 정확하게 수행하게 되고, 더 나아가 언어 자체가 불필요하게 될 것이라고 예견하고 있다. 그런 날이 오면 저커버그가 언급한 ‘텔레파시’로 모든 소통이 이루어진다는 게 아닌가. 

그렇게 되면 인류 유사 이래 지금껏 있어 온 ‘말 다르고 맘 다른’ 온갖 속임수가 없어지게 되지 않겠는가. 연애하는 남녀 간은 물론 특히 거짓말을 밥 먹듯 해온 정치인들을 비롯한 여러 가지 직업인들의 입지가 아주 곤란해지리라. 어디 그뿐인가. 인간과 인간 사이에서뿐 아니고 인간과 다른 동식물 심지어 광물과도 자연스럽게 소통이 가능해질 수도 있지 않을까.

“전부 자기가 혼자 힘으로 살고 있다고 생각하지만, 나무 한 그루 풀 한 포기 없이 우리는 10분도 숨 쉴 수 없습니다. 모두가 하나의 생명이지 내 생명이 따로 없다는 것을 알고 나면 모든 것은 투쟁보다는 상생相生으로 갑니다. 그것이 중도연기中道緣起죠.”

한국 간화선의 대표 선승인 혜국 스님(금봉선 원장)은 2015년 7월 2일 충북 충주 석종사釋宗寺 조실채에서 하안거 중 기자들과 만나 이렇게 말했다. 이날 간담회는 스님이 쓴 책 ‘신심명信心銘’ 출간을 기념한 것이었는데 ‘신심명’은 1,400년 전 선종 시대 조사 승찬 대사가 불교철학의 원리를 74구절 짧은 글로 담아낸 선어록이라고 한다. ‘신심명’ 을 통해 오늘날 되새길 정신이 무엇이냐는 기자들 질문에 혜국 스님은 다음과 같이 대답했다.

“결국 상생입니다. 떠다니는 구름이 만든 비와 대지에서 나오는 음식이 내 몸 만든 것인 줄을 알 때 남을 어떻게 내 몸처럼 대접할까를 고민하게 되니, 지구와 인류가 살아날 수 있는 원리가 되죠. 그걸 깨치고 나면 구절마다 덩실덩실 춤이 나옵니다"

실로 피아일체彼我一體요

물아일체物我一體라면

나와 나의 분신들 사이에,

소우주小宇宙로서의

소아小我인 나와

대우주大宇宙로서의

대아大我인 나 사이에

무슨 말과 글이 필요하리오.

애오라지 깨달음의 

느낌이면 족하리오.

이를 우리말로는

이심전심以心傳心이니

심심상인心心相印이라 하고

영어로는 텔레파시 telepathy 라 

하는 것이리오.

따라서 저커버그의

‘어떻게 하면 우리는 

영원히 살 수 있을까.

어떻게 하면 사람들이 

100만 배 더 많은 것을

배우도록 할 수 있을까’란 

궁금증과 의문도

자연스럽게 풀리게 되리오.

그럴 때 비로소 우리 모두

우주인 나그네 ‘코스미안’으로서

우주의 삼라만상森羅萬象과 더불어

덩실덩실 춤출 뿐이리오.

[이태상 칼럼] '지구 어머니 Mother Earth의 요정 대모 Fairy Godmother가 코로나 바이러스임에 틀림없어라'

2021년 8월 15일자 뉴욕타임스 일요판 평론 오피니언의 인기 칼럼니스트 모린 다우드Maureen Dowd는 ‘보라, 버락 앙투아네트를 Behold Barack Antoinette’이란 제목의 칼럼을 이렇게 시작한다.

제이 개츠비

(이 칼럼 제목에 등장하는 앙투아네트는 (확신컨대) 프랑스 혁명으로 인해 민중에게 처형당한 오스트리아의 왕녀이자, 프랑스왕 루이 16세의 왕비 마리 앙투아네트를 지칭한 것이리라.)

오스트리아 제국의 여제 마리아 테레지아와 신성로마제국의 황제 프란츠 1세의 막내딸이다. 숙적 프랑스와의 동맹을 위해, 14세의 어린 나이에 오스트리아를 떠나 프랑스의 왕비가 되었다. 왕비가 된 후 베르사유 궁전에서 문화와 유행을 선도하며 화려한 생활을 하다가 혁명군에 체포돼 끝내 단두대의 이슬로 사라졌다. 공주와 왕비로 살다 프랑스 혁명의 소용돌이 속에서 역사의 책임을 떠안고 간 마리 앙투아네트의 극적인 삶은 소설, 영화, 연극, 만화, 뮤지컬 등 다양한 장르에서 이야기의 소재로 자주 등장하고 있으며, 다양한 문구에서 '베르사유의 장미'로 비유되고 있다. [출처: 위키백과]

“제이 개츠비는 그를 내쳤던 옛 첫사랑 데이지에게 뽐내려고 물가 거대한 대저택에서 성대하게 사치스러운 졸부猝富 파티를 멋드러지게 열었다. JAY GATSBY gave big, lavish, new-money parties at his sprawling mansion on the water because he wanted to seem cool. He wanted Daisy to notice him.

버락 오바마에게는 멋져 보이는 게 중요하기에 그도 멋져 보이려고 물가 거대한 저택에서 성대하게 사치스러운 졸부 파티를 열었다. Barack Obama gave a big, lavish, new-money party at his sprawling mansion on the water because he wanted to seem cool. Being cool is important to him.”

이 ‘개츠비’가 생경하거나 알고 있어도 이 스토리를 복기復碁하기 위해 2014년 9월 4일자 대경일보 허경태 국장의 기사 ‘멈출 수 없는 인간의 욕망과 파멸 [위대한 개츠비]’를 아래와 같이 인용해보리라

멈출 수 없는 인간의 욕망과 파멸 

F.  스콧 피츠제럴드의 「위대한 개츠비」

오래전에 읽었던 F. 스콧 피츠제럴드의 장편소설 「위대한 개츠비」를 다시 읽다. 

1920년대 미국을 배경으로 하고 있는 이 소설은 물질문명 속에서 아메리카 드림이 어떻게 붕괴되어 가는지를 한 인간을 통해 보여주는 작품이다. 가장 미국적인 색채가 강한 소설로 영화로도 만들어져 이미 많이 알려져 있다. 사회성이 짙은 소설 「위대한 개츠비」는 재즈시대라고 불리는 1920년대를 살아가던 미국인들의 모습을 몇 명의 등장인물을 등장시켜 자세히 묘사하고 있다. 시대의 어둠을 상징하는 주류 밀수업자인 개츠비의 헛된 꿈과 파멸을 통해 시대적인 현상이었던 황금만능주의와 도덕성 타락상을 비판하고 있는 것이다.

이 소설을 이해하기 위해서는 소설의 배경이 되는 미국의 1920년대를 알아야 한다. 제1차 세계대전이 끝나고 미국이 유래 없는 호황을 누리던 시기. 그 당시의 미국은 전쟁을 통해 무기를 팔아서 국가의 부를 축적했다. 1차 세계대전을 통해 번 돈으로 미국은 엄청난 경제발전을 이룬다. 이어서 산업구조의 변화와 함께 급속히 도시화와 산업화가 진행되었다. 특히 뉴욕을 중심으로 한 북동부 대도시들은 큰 발전을 이룩했고 대규모의 인구 이동도 돈을 따라 움직였다. 그에 맞게 황금만능주의와 인간성 황폐와 같은 문제점들이 나타났다.

이 같은 시대를 미국에서는 재즈시대라고 일컬었다. 미국 동남부의 뉴올리언스에 기반을 두고 있던 많은 뮤지션들이 시대의 물결을 타고 북부로 이동하면서 재즈라는 장르가 미국 전역에 퍼지기 시작한 것이다. 그리고 금주법이 만들어지면서 주류 밀수업이 성행하게 되던 시기였다. 혼돈의 미국사회에 살고 있던 소설 속의 인물들은 각자의 욕망을 성취하려고 애를 쓰지만 결말은 허망하게 끝나고 만다.

주인공 개츠비는 1차 대전에 장교로 참전한 군인 출신의 주류 밀수업자다. 그는 밀수로 부자가 되었고 고향인 롱 아일랜드의 대저택을 구매해서 주말마다 화려한 파티를 연다. 닉 캐러웨이는 개츠비와 이웃으로, 파티에 참석하면서 친구가 되었다. 하지만 개츠비의 퇴폐적인 생활에 조금씩 염증을 느끼고 있는 인물이다.

개츠비는 닉 캐러웨이의 사촌누이인 데이지와 다시 만나고 싶어 한다. 전쟁에 참전하기 전 개츠비는 데이지와 한동안 연인 사이였다. 너무 가난했던 개츠비는 데이지의 선택을 받지 못했다. 주류 밀수로 돈을 많이 벌어들인 개츠비가 고향에 돌아온 목적은 오직 데이지의 환심을 사서 예전의 모습을 되찾으려는 것이었다. 하지만 운동선수 출신인 톰 부캐넌의 아내가 된 데이지. 그렇지만 개츠비는 데이지를 연모하고 있었고, 그녀를 다시 만나고 싶어 한다. 그가 파티를 여는 이유도 데이지를 만나기 위해서였다.

개츠비의 요청에 닉 캐러웨이는 데이지와의 만남을 주선하고 마침내 둘은 다시 만나게 된다. 남편 톰 부캐넌과의 사이가 좋지 않던 데이지는 개츠비를 순순히 받아들인다. 어느 날 개츠비의 집에서 파티를 마치고 가는 길에 데이지는 미틀이라는 여자를 차로 받아 죽인다. 조단과 톰 부캐넌이 이를 목격한다.

조단은 개츠비가 닉 캐러웨이에게 소개해준 여자였다. 그런데 톰 부캐넌은 아내 데이지와 불륜 관계인 개츠비에 대한 적개심으로 미틀의 남편인 조지 윌슨에게 개츠비의 차가 미틀을 치었다고 하며 총을 건네준다. 하지만 그날 개츠비의 차를 운전했던 사람은 바로 데이지였다. 흥분한 조지 윌슨은 즉시 개츠비를 찾아가 수영장에서 그를 쏴 죽인다. 그러는 동안 톰 부캐넌과 데이지는 여행을 떠날 준비를 한다. 한편 닉 캐러웨이는 개츠비의 장례식을 치루지만 장례식에는 알고 지내던 주변 사람들은 아무도 오지 않고 개츠비의 아버지인 개츠씨와 파티에서 우연히 만난 부엉이 눈이라는 생각 없는 사람만 참석한다. 그 후로 닉 캐러웨이는 주변 사람들과 멀어지게 되고 쓸쓸히 서부로 돌아가면서 이야기는 마무리된다.

개츠비가 위대한 이유는 자신의 첫사랑을 끝내 잊지 않고 되찾기 위해, 불나방처럼 무모하게 달려드는 열정적이고 낭만적인 인간이라는 점. 그 욕망을 성취하기 위해 밑바닥의 삶에서 부자가 된 아메리칸 드림을 성취했다는 점. 이러한 개츠비의 꿈과 환상이 비록 한 연인의 인정을 받기 위함이었다고 하지만 한편으로는 그 시대의 각박한 삶을 살아가던 사람들을 위한 한 줄기 희망이었다.

이 소설을 쓴 피츠제럴드도 「위대한 개츠비」를 통해 인기가 상승하면서 작가로서 부를 성취하고 화려한 생활을 누렸지만, 모두 탕진하고 마흔네 살의 나이로 소설 속의 주인공 「위대한 개츠비」와 같이 심장마비로 쓸쓸한 삶을 마감했다. 피츠제럴드의 분신이자 1920년대 미국사회의 적나라한 모습을 실감 나게 보여준 「위대한 개츠비」를 통해 우리는 멈출 수 없는 인간의 욕망과 파멸을 다시 생각하게 된다.

앞의 뉴욕타임스 칼럼으로 돌아가 필자는 나를 포함한 수많은 사람이 느꼈을 배신감을 이렇게 표현한다.

“2008년 오바마는 한 후보로서 멋진 녀석이었다. 그러나 승리한 후 그는 점차로 고답적이 되어갔다. (그러더니) 이제 와선 지상에서 너무 높이 공중으로 떠올라 뭣이 멋진 것인지 그는 모르고 있다. 네가 초선 상원의원으로 - 대학을 나와 겨우 대출 학자금을 상환한 지 채 몇 년도 안 돼 - 가공하도록 막강한 클린턴 정치권력기구와 구조에 맞섰을 때 모든 위험을 무릅쓰고 헌신적으로 너를 전폭 지지했던 사람들을 모욕하고 무시하며 비하하는 행동은 결코 멋진 짓일 수가 없다. Obama was a cool cat as a candidate in 2008, but after he won, he grew increasingly lofty. Now he's so far above the ground, he doesn't know what's cool. You can't be cool if you diss the people who took risks for you when you were a junior senator - only a few years out from paying off your student loans - taking on the fearsome Clinton machine."

그 당시 남녀노소 할 것 없이 그에게 열광했던 수많은 지지자들처럼 나 또한 열성적으로 그를 지지했을 뿐만 아니라 그의 승리를 확신했었다. 주위의 거의 모든 유권자들이 그의 승산이 전무하다고 했을 때 나는 그렇기 때문에 그의 승리가 그 더욱 확실하다고 단언했던 까닭에 그의 당선 직후 축하인사도 많이 받고 ‘점쟁이’란 소리까지 들었다.

아, 그래서였을까. 내 세 딸 중에 막내 성아星兒가 다음과 같은 영문 편지를 오바마 대통령에 보내기도 했다.

Dear Mr. President,

I can't imagine that you have surplus free time to read all the letters from your fans, but as it is Father's Day, it is also perhaps the best time to share something with you that happens to be very important to my own father.

My father, Lee Tae-Sang, is one of life's rare treasures..an uncannily passionate and warm soul, an idealist and visionary. And obviously, my sisters and I think he's quite special. He is an immigrant from Korea, via England where we were all brought up, and while English isn't his first language, he has considered it of utmost importance to compose and share a version of his memoirs in English.

He says this is his only "legacy" to us. This isn't one's "typical" memoirs, however; it chronicles my father's very unique spiritual journey from childhood through adulthood, often through the eyes of characters like "The Little Prince". At times quite fantastical, it truly shows my father's childlike innocence, as well as his connection to literature that reflects his love and connection to this innocence.

One may ask, "How could any of this connect to President Obama?"

My father has seen you, since your speech at the 2004 Democratic Convention, as a real "kindred spirit". He immediately connected with your brave and noble disposition and message, along with your trials, your beliefs, your wisdom, and your character. 

As much as he wanted to share this cherished memoir with his children (my two sisters and myself), he has asked me to please forward it to you as well, to share with his "kindred spirit".

Now, please understand that my sisters and I are not delusional! We know how much of a long shot this is and that getting past any screening processes must be quite a challenge. 

However, I know how important this is to my father, and I feel it's the right thing to do to honor his simple wish, and compose this cover letter to send along with his manuscript.

It means a lot to him that his "kindred spirit" would have a chance to discover his story. I appreciate you reading this letter and hope that you also have a chance to read his manuscript. He's a special man with a special story told in a very special way.

My sisters, Hae-a and Su-a and I thank you profusely for taking some precious moments of your time to read this letter. My father Tae-Sang will be most honored, as well. 

Thank you for sharing your gift and passion with the world and with us.

Sincerely,

Song-a Lee

P.S.

After reading the draft, a poet by the name of Dennis O'Keefe living in San Anselmo, California, wrote as follows:

"The memoir is such an interesting blend of history and fantasy, of reality and poetry, of highmindedness with the occasional carnality thrown in. An artistic stewpot. Daughter Song-a used the word 'fantastical' in her loving and well-written cover letter to the President.

Indeed. Having read the memoir twice, and allowed it to settle, I feel as though - not just for the fact of the words, but also for the ebb and flow of thought direction - I have been wandering the nerve-endings of your brain.

"Your history is there, certainly, but slathered with other gravies: poetry, philosophy, and passion and dispassion. And a great deal of playfulness. I believe there is something very Zen-Masterish about the angled prose you set down in this writing: A wild-and-crazy trip, Man."

(The Korean version of my book titled 'Arainbow'-'어레인보우' in Korean-was published in June 2011. Its English version 'Cosmos Cantata: A Seeker's Cosmic Journey' was published in 2013, a copy of which was sent to President Obama. And he graciously responded by sending me a Thank You' letter with his autographed photo. 'Cosmos Cantata' was followed by 'Cosmian' in 2019, and 'Cosmian Rhapsody' in 2020 also by AUSTIN MACAULEY PUBLISHERS, LONDON-CAMBRIDGE--NEW YORK-SHARJAH)

A reader of the Korean edition wrote to the Korean publisher, 자연과인문 Nature&Humanities, commenting about my work:

"It felt like watching the film of a pure and true fairy tale."

Thanks to another reader's enthusiastic recommendation and support, hundreds of copies have been purchased and distributed monthly as 'inspiring gifts' to young people, students and enlisted servicemen/women of the South Korean Armed Forces.)

지난 주말 오바마 전 대통령의 60회 생일 파티가 초호화판으로 있었다는 뉴스에 현재 코로나 팬데믹으로 신음하고 있는 미국 국민은 물론 세계 각국 국민 대부분이 그의 아름다운 '사랑의 시(연설문)'에 농락당한 기분이었으리라. 한국에서도 지난번 대선 때 촛불을 밝혀 문재인 대통령을 선출했던 국민도 같은 느낌이 아닐까.

시인 황동규는 ‘즐거운 편지’에서 ‘사소함’ 속에 온 우주가 깃들어 있다고 이렇게 노래한다.

언젠가 그대가

한없이 괴로움 속을 헤맬 때에

오랫동안 전해오던 그 사소함으로

그대를 불러보리라.

결코 거창한 일들이 아니고 아주 사소些少한 모든 것의 한없이 경이로운 신비를 발견하면 이것이 곧 자연의 리듬이 되고 우주의 멜로디로 승화하는 것이리라.

당분간 코로나바이러스 덕(?)에 자의 반, 타의 반, 싫든 좋든, 우리 모두 ‘은둔자隱遁者'가 된 마당에 우리 칼릴 지브란 Kahlil Gibran 1883-1931의 ‘방랑자 The Wanderer: His Parables and Sayings(1932)에 나오는 ‘은자隱者와 짐승들 THE HERMIT AND THE BEASTS' 이야기를 반추反해 보자.

언젠가 푸른 초원 언덕에 한 은자隱者가 살았다. 그의 정신은 고매高邁하고 그의 마음은 순결純潔했다. 육지의 모든 동물들과 하늘의 새들이 쌍쌍으로 그의 주위로 몰려들고 그가 말을 하자 날이 저물도록 모두 떠나려 하지 않았다. 하지만 그는 모든 짐승들을 축복해주면서 숲과 하늘로 돌려보냈다. 하루 저녁 무렵 그가 사랑에 대해 말을 하고 있을 때 한 표범이 고개를 들고 그에게 물었다.

“우리에게 사랑에 대해 말씀하시는데, 선생님의 짝은 어디에 있습니까?”

은자가 대답해 말하기를,

“난 짝이 없다네.”

그러자 모든 짐승들과 새들이 크게 놀라워하면서 저희들끼리 말하기를,

“자신이 아무것도 모르면서 어떻게 우리에게 짝짓고 사랑하는 일에 대해 말해 줄 수 있겠는가?”

더 이상 아무 말도 하지 않고 은자를 경멸하면서 다들 떠나가 버렸다. 그날 밤 은자는 땅에 자리를 깔고 엎드려 통곡하면서 두 손으로 가슴을 쳤다.

Once there lived among the green hills a hermit. He was pure of spirit and white of heart. And all the animals of the land and all the fowls of the air came to him in pairs and he spoke unto them.

They heard him gladly, and they would gather near unto him, and would not go until nightfall, when he would send them away, entrusting them to the wind and the woods with his blessing.

Upon an evening as he was speaking of love, a leopard raised her head and said to the hermit,

“You speak to us of loving. Tell us, Sir, where is your mate?”

And the hermit said,

“I have no mate.”

Then a great cry of surprise rose from the company of beasts and fowls, and they began to say among themselves,

“How can he tell us of loving and mating when he himself knows naught thereof?”

And quietly and in disdain they left him alone.

That night the hermit lay upon his mat with his face earthward, and he wept bitterly and beat his hands upon his breast.

제가 저지른 일의 과보果報를 제가 받는다는 뜻의 자업자득이나 자신이 한 말과 행동에 자신이 구속되어 괴로움을 당한다는 의미의 자승자박自繩自縛이란 말이 있지.않나.

지난해 자살한 박원순 전 서울시장, 최근 사임한 앤드루 쿠오모 전 뉴욕주지사, 모 자동차 회사 사장이 촌 영감(전 노무현 대통령 형님)을 찾아와 뇌물(?)을 바치려 했었다고 공개적으로 비난하고 모욕을 줘 그 분의 자살을 촉발시킨 까닭에 자신 스스로도 자살을 하고만 노 전대통령처럼 자신이 실천, 실행하지 않고 말로만 때우려는 자들 -Those who don't practice what they preach - 이 그 실례가 되리라.

지난 2020년 12월 17일에 올린 우생의 칼럼 글 옮겨보리라.

'우리 모든 코스미안의 미학'

삶은 메아리.

네가 노래 부르는 대로 메아리로 돌아오지.

네가 뿌리는 대로 거두게 되지.

네가 주는 대로 받게 되지.

네게 있는 대로 남에게서 보게 되지.

기억하게나, 삶은 메아리란 걸.

언제나 네게로 돌아온다는 걸.

그러니 선행을 행해야지.

- 작자 미상

Life is an echo.

What you send out, comes back.

What you sow, you reap.

What you give, you get.

What you see in others, exists in you.

Remember, life is an echo.

It always gets back to you.

So give goodness.

- Unknown

그 누군가가 (영어로) 말하지 않았던가? “설명한다는 건 (그 내용을) 감소減少시키는 것”이라고. Didn’t someone say in English that “to explain is to reduce?”

이는 우리 옛시조에도 있는 말이다. “말로써 말이 많으니 말 많을까 하노라.” ‘말하면 잔소리’란 뜻으로. There is a ‘sijo’ (one of the traditional types of Korean poem) verse: “With words one too many, it becomes too wordy.”

In Korean, we say that ‘it’s only nagging and nitpicking to utter a word as a killjoy or a spoiler, meaning that it should go without saying, needless to say, to avoid redundancy.

시인 김소월(1902-1934)은 그의 시 ‘초혼招魂에서 절규絶叫한다.

산산이 부서진 이름이여

허공중虛空中에 헤어진 이름이여

불러도 주인主人없는 이름이여

부르다가 내가 죽을 이름이여

심중心中에 남아 있는 말 한마디는

끝끝내 마저 하지 못하였구나.

사랑하던 그 사람이여

사랑하던 그 사람이여

붉은해는 서산西山마루에 걸리었다.

사슴의 무리도 슬피운다.

떨어져 나가 앉은 산 위에서

나는 그대의 이름을 부르노라.

설움에 겹도록 부르노라.

설움에 겹도록 부르노라.

부르는 소리는 비껴가지만

하늘과 땅 사이가 너무 넓구나.

선 채로 이 자리에 돌이 되어도

부르다가 내가 죽을 이름이여

사랑하던 그 사람이여

사랑하던 그 사람이여

In his peom “Evocation,” Korean poet Kim So-Wol(1902-1934) exclaims:

Evocation

A name shattered to pieces!

A name scattered in the void!

A name that never replies!

A name that I’ll die calling!

The one word left in my soul!

To the last, I couldn’t pronounce.

My beloved!

My beloved!

The red sun hovers over the hill,

And the deer moan woefully.

I’m calling your name

On a lonely hill.

I call your name in great sorrow.

I call your name in deep sorrow.

My voice reaches towards the sky,

But the sky is too far from the earth.

Turn me into a stone,

I’ll call your name till I die.

My beloved!

My beloved!

이 김소월의 절창絶唱과 극히 대조되는 칼릴 지브란Kahlil Gibran (1883-1931)의 ‘방랑자 The Wanderer (1932)에 나오는 ‘사랑의 노래 The Love Song’가 있다.

어느 한 시인이

사랑의 노래를 지었다.

지어놓고 보니

한 편의 아름다운 시였다.

그래서 이 시를

여러 장 만들어서

그의 벗들과

아는 사람들에게 보냈다.

이 시를 받아본 사람들 가운데는

산 넘어 또 너머

저 먼 산골짜기 마을에 사는

시골 처녀가 있었다.

시인이 딱 한 번

만나 본 적이 있는 처녀였다.

며칠이 지나

이 처녀의 편지를 갖고

사람이 찾아 왔다.

“보내주신 ‘사랑의 노래’에

깊은 정을 느꼈습니다.

부모님의 승낙을 얻었으니

어서 오셔서

혼인 날짜를 잡고

잔치를 베풀어 주셔요.”

시인은 답장하기를

“그대에게 보낸 시

‘사랑의 노래’는

한 시인의 가슴에서

그냥 흘러나온

사랑의 노래일 뿐

아무 남자라도

아무 여자에게나

부를 수 있는

그런 노래라오.”

처녀가 회답하기를

“빈말로 사람을 속이는

거짓말쟁이 위선자,

이날로부터 나 죽는 날까지

나는 시인을 저주할래요.”

The Love Song

A poet once wrote a love song and it was beautiful.

And he made many copies of it, and sent them to his friends and his acquaintances, both men and women, and even to a young woman whom he had met but once, who lived beyond the mountains.

And in a day or two a messenger came from the young woman bringing a letter. 

And in the letter she said, 

“Let me assure you, I am deeply touched by the love song that you have written to me. Come now, and see my father and my mother, and we shall make arrangements for the betrothal.”

And the poet answered the letter, and he said to her, 

“My friend, it was but a song of love out of a poet's heart, sung by every man to every woman.”

And she wrote again to him saying, 

“Hypocrite and liar in words! From this day unto my coffin-day I shall hate all poets for your sake.”

이상과 같은 칼릴 지브란의 ‘사랑의 노래’에 나오는 처녀처럼 나도 어려서부터 너무 순진했었던 것 같다.

이때로부터 글 잘 쓰는, 말 잘하는 이들이 글로만 말로만 그럴듯하게 때우는 그야말로 우리나라 속담에도 있듯이 인생을 ‘수박 겉핥기’ 식으로 사는 사람들이 아닌가 의심하게 되었다. 그러면서 거짓말쟁이 글쟁이 말쟁이가 되느니 그보다는 탁상공론이 아닌 ‘행동파,’ ‘삶쟁이’가 되어 실제로 아름답고 순수하게 살아보겠노라. 말장난 글장난이 아닌 참사랑을 하면서 열심히 삶을 살아보겠노라 굳게 마음먹었다. 

말하자면 칼릴 지브란의 ‘선구자(The Forerunner, 1920)에 나오는 ‘시인들Poets’ 중 네 번째 시인이 되기로 결심을 했다.

네 사람의 시인이

한 잔의 술을 놓고

테이블에 둘러앉았다.

첫 번째 시인이 말하기를

“내 두 눈 외에

또 한 눈으로 보니

이 술의 향기가

깊은 산 숲속에서

떼를 지어 나는

한 무리의 새구름 같이

떠도는구려.”

두 번째 시인이

고개를 들고 말하기를

“당신이 말하는

그 안개구름같이

떠도는 새들이

부르는 노래가

내 귓속에 들리는구려.

이 신비로운 노랫소리가

내 마음 사로잡기를

한 떨기 장미꽃이

그 잎 속에 벌을 잡아