한국 현대시에서 서정성의 확대가 일어나기까지
Before the Expansion of the Lyricism in Korean Modern Poetry
This article aims at elucidating the formative process of Korean lyricism of 1920s. First of all, I set forth as premises the following propositions. (1) The lyricism, as we understand these days, is a set of particular affects and attitudes about the world including peculiar aesthetic and linguistic points of view that had been constructed by the romanticism of 18-19th century of Europe. Especially, it is distinguished by the literary genre triad: the epic, the lyric and the dramatic. (2) Like all the cultural materials entered from the Outside, the lyricism was also strange to Koreans in the early 20th century. Therefore, it was very difficult to be received as it was by Koreans. The Korean poets in the early 20th century had the earnest desire for establishing new modern poetry in Korea based on the model of the Western literary forms. That is, they tried to recreate the Western poems with Korean language. But they met the resistance of the traditional emotions, attitudes and aesthetic points of view. This situation came in effect to formation of singular forms of Korean poetry different from Western lyric poetry in two directions. Judging from my analysis, I conclude: (1) Manhae(Yong Woon HAN)"s poetry joined the Western poetry in a sense that it included the 'consciousness of the self.' But this coincidence is only that of outward appearance. In fact, his poems were created through other process different from the transplantation of Western poetry. I presume that his poetry was a result of the overdetermination of three sources at least: First, the fact that Korea was, in the cultural dimension, the colony of the colony; Second, the Buddhism as moral philosophy; Lastly, the Koreans" unique world view of which we can understand the basic concepts('innaecheon', i.e. 'man and god are same') from the 'Donghak Sasang(Eastern Philosophy).' (2) So Weol KIM saw through the essence of Western lyric poetry: 'disaccord with or alienation from the world.' But He also felt keenly the resistance of the traditional aesthetic emotions. His poetry was not created through the mechanic application of Western poetry with Korean language. Korean traditonal forms of culture were utilized to make possible the settlement of Modern lyricism. The result was that he built an exceptional aesthetic feeling about parting, i.e, 'Zeuryeoparbko Kasiopsoseo(Leave over leaves).'
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