본고는 동양사상의 토대를 이루는 음양사상에 주목하면서 논의를 시작하였다. 논의를 하게 된 계기는 정지용 시의 특징을 해명하기 위한 각축이 정지용의 ‘시어’를 통해 개진되었다할 만큼 중요함에도, 서구적 이론에 편중되어 동양사상적 논의는 찾아보기 어려웠기 때문이다. 정지용이 술회한 바처럼 모더니즘시의 탄생 과정에서 예술보다 정치적 요인이 크게 작용했다면, 모더니즘 시의 의의는 현저히 약화될 수밖에 없다. 이에 본 연구는 정지용의 시어를 작가가 태어난 사회의 문화, 전통, 사상이 깊숙이 내재된 음양적인 관점에서 논의하였다. 음양은 한쪽으로만 치우치면 문제가 생기는데 정지용의 시어는 음양적 상상력을 통하여 음양이 조화와 균형을 이루고 있었다.

This piece of writing began its discussion as focusing on an idea of Yin-Yang (陰陽) that form a foundation of Orientalism. The reason for such discussion is that it is difficult to find oriental discussions about competitions to explain characteristics of poetry by Jeong Ji-Yong although they are important as much as to be expressed through Poetic Diction because its is concentrated on western ideas or theories. If political factors rather than art were applied in the birth process of Modernism poetry as Jeong Ji-Yong speaks, then the meaning of Modernism poetry in his work has no option but to be weakened. Literary works are the fruits of a society where the writer was born. This paper discussed about Feeling words by Jeong Ji-Yong in the Yin-Yang (陰陽) perspective that is deeply inherited in culture, tradition, and idea of a society where the writer was born. The Yin-Yang perspective an orientalism art theory that aims moderation of emotion, but it has significance as being faithful to poetics of Jeong Ji-Yong in connection with ‘passionate on the inside but cool on the outside. When the yin and yang slope to one side, problems occur. by the way, In Jeong Ji-yong's poem, yin and yang are balanced with harmony.