한국 근대시의 형성 과정 연구

Abstract

The 1910s is more important to arguments on the origin and shaping of Korean modern poetry, in which many characteristics of it seemed to be changed and new characteristics different from the former poetry to rise, so many researchers who had interest in the history of Korean poetry have focused on the period. Nevertheless, the results of their studies are able to brighten the basis and the moment of shaping of Korean modern poetry satisfactorily. Some researchers emphasized the foreign influence; influence of the theory and poetry of French Symbolism on some Korean poets in 1910s, and others emphasized successions of traditional Korean song genres; Sijo, Gasa, folk song. However both did not take notice of the circumstance in which most people grew into poets in the 1910s. In this thesis, I took notice of their literal or cultural experience conformed by learning Chinese poetry(漢詩) in modern or old elementary school and by living in their own societies, middle class societies in which had learned and performed various folk songs e.g. Suhsim-ga(Sad Song), Heung-taryeong(song of pleasure). They tried to develop a new form of Korean poetry proper to new age, that is modern times, which might substitute for the form of Chinese poetry concerned as the only traditional poetry because they recognized that not Chinese but Korean was proper to contemporary age. At that time, they did not try to change the forms of Korean traditional songs into new form of Korean modern poetry, thus they groped for the new form through translating not only Western or Japanese

poems but also Chinese poems into Korean poems. It was very difficult to make the new form of Korean poetry equal to the rhymed forms of foreign and Chinese poetry, so forms of new works they made through translating process were various. The rhymed verse with seven syllables or seven-five syllables was not shaped by influence of Western or Japanese song and poetry through that process. Most poets in the 1910s recognized that the new poetry were to be set-form or rhymed verse like the traditional poetry. Unlike we know free verse is lack of virtual rhyme, they recognized all verses had own rhyme. The free verse they studied was not the new form of Korean modern poetry but an interim form. The new form, they thought, were to proper to all of Korean people, therefore, I think, their goal have not accomplished yet. We are able to call the 1910s as the starting age for making Korean

modern rhymed verse common to all poets. So it is not correct that the appearance of some free verse or verse-free lines was a certificate of completion of the unique form to new age we have called modern times. However most poets in the 1910s did not know yet that Korean modern poetry have not only to be proper for all Korean poets to present their emotions and thoughts naturally but also to be composed by new words different from ones in the former age. Because what a poem is old or modern may be defined according to what the relationship between words and things is old or modern not according to how the rhyme of a poem is different from that of former one. Solving this problem is that the 1910s poets handed down to later poets. At that point, we are to say the new form of Korean modern poetry have not shaped yet.