NEW POETRY AND MODERN POETRY.pdf

신체시와 현대시 NEW POETRY AND MODERN POETRY 21 번 데스틴 In the midst of the turbulent changes of the late nineteenth and early twentieth centuries, “New Poetry” (신체시) such as 최남선‘s “From the Sea to Boys” (해에게서 소년에게, 1908) and “On Flowers” (꽃두고) emerged as an experime...

신체시와 현대시 NEW POETRY AND MODERN POETRY 21 번 데스틴 In the midst of the turbulent changes of the late nineteenth and early twentieth centuries, “New Poetry” (신체시) such as 최남선‘s “From the Sea to Boys” (해에게서 소년에게, 1908) and “On Flowers” (꽃두고) emerged as an experimental form that made a clear break with all previous styles of poetry. As indicated by the name, New Poetry broke with the previous poetic forms in an attempt to create a freer style of poetry along the lines of Western poetry of the time. A form that attempted to create a sense of unity by ending each line of a stanza with the same syllable, New Poetry was not free verse because it followed a set rhyming scheme just as previous forms of poetry had. A form that attempted to create a sense of unity by ending each line of a stanza with the same syllable, New Poetry was not free verse because it followed a set rhyming scheme just as previous forms of poetry had. Nevertheless, New Poetry played an important role as a transitional genre between traditional forms and modern Korean poetry as we know it. In embracing the spirit of enlightenment, New Poetry dealt with hopes for the new era and projected an optimistic view of life. 꽃 두고 - 최남선(崔南善) 나는 꽃을 즐겨 맞노라. I welcome flowers with joy, but I do not want them carried away, 그러나 그의 아리따운 태도를 보고 눈이 어리어, because their beautiful movements 그의 향기로운 냄새를 맡고 코가 반하여, capture my eyes, 정신없이 그를 즐겨 맞음 아니라 and their sweet fragrance bathes my 다만 칼날 같은 북풍을 더운 기운으로써 nose. 인정없는 살기를 깊은 사랑으로써 I welcome them with joy because they bring the spring breeze that replaces the 대신하여 바꾸어 cutting north with warm breath, 뼈가 저린 이름 밑에 눌리고 피도 얼릴 눈구덩 and that replaces bitter hate with deep 에 파묻혀 있던 love, 억만 목숨을 건지고 집어 내어 다시 살리는 to save the millions of people who are 봄바람을 표장(表章)함으로 trapped under bone-chilling ice and buried in blood-freezing snow pits. 나는 그를 즐겨 맞노라. 나는 꽃을 즐겨 보노라. 그러나 그의 평화 기운 머금은 웃는 얼굴 흘리어 I look at flowers with joy, 그의 부귀 기상 나타낸 성한 모양 탐하여 but I do not look at them with giddy joy, 주착 없이 그를 즐겨 봄이 아니라 enchanted by their smiling 다만 겉모양의 고운 것 매양 실상이 적고 faces drenched in peace, possessive of the wealth of their 처음 서슬 장한 것 대개 뒤끝 없는 중 오직 혼 lush shapes. I look at them with joy because 자 특별히 —though outside beauty covers 약한 영화 구안(苟安)치도 아니고, 허다 마장 inner poverty and quick flashes usually fizzle out— flowers, (魔障)격으면서도 굽히지 않고 and only flowers, neither seek 억만 목숨을 만들고 늘어 내어 깊이 전하 바 ephemeral glory, nor give in to what stands in 씨 열매를 보유함으로 their way 나는 그를 즐겨 보노라. Instead they hold the seeds of the lives of millions. After the transitional period that resulted in New Poetry, modern poetry, which first appeared in magazines such as the Light of Scholarship (학지 광, 1914) and the Taeseo Literature and Art (태서문예신보, 1918- 1919) in the years 1915 to 1920, became part of the Movement for a New Literature that emerged immediately after the March 1 Movement (3․1 운동) in 1919. From this formative period to the present day, modern poetry has included not only lyric poems but also many narrative poems, and a smaller number of dramatic poems. The narrative and dramatic poems, however, were written for special purposes; the lyric poem is the most common form in modern poetry. Although most modern poems are lyric, the genre of modern poetry is extremely diverse in form and style. Because modern poets attempt to give their poems a unique style in the tradition of free verse, modern poetry lacks any sort of standard rhythm. As poetry embraces a wider range of experience and ideas regarding which subjects, values, and type of language are felt to be “poetic,” it is natural for a wider range of works to contain a lyric quality of some sort.  Modern literary criticism, which puts great emphasis on individual creativity rather than attempting to place a particular work in a particular literary genre, has also contributed to the diversification of modern poetry. Criticism focusing on the theory of genre has given way to criticism of poetic movements and styles and of individual poets. Thus it is almost impossible to summarize all of the relevant characteristics of modern Korean poetry, but a summary of the history of modern poetry before the liberation from Japanese colonial rule on August 15, 1945, is useful in understanding the development of modern poetry.  After a period of transition in the decade 1910 to 1920, modern poetry flourished in the 1920s in various literary magazines and journals such as Creation (창조, 1919), Ruins (폐허, 1920), Rose Village (장미촌, 1921), White Tide (백조, 1922), Genesis (개벽, 1920), and the Joseon Literary World (조선문단, 1924). The common theme of poets such as 김억, 황석우, 홍사용, 이상 화, 박영희, and 박종화 was the agony of the lonely individual in a morally corrupt world. The reality that appears in their poems is one of evil and darkness; only escape into the worlds of death or imagination makes a meaningful life possible. This dark romanticism is a result of the sudden destruction of traditional society and culture and the experience of colonial oppression. In this sense, the agony of intellectuals who were powerless to effect change became the typical poetic emotion of this era. One of the outstanding works of this period is “To My Bedroom” (나의 침실로, 1923), in which the poet, 이상 화 (1901– 1943), uses “bedroom” as a metaphor for the world of death.  After 1924, modern literature diverged into two main groups, the “new wave” group and the 카프- KAPF, a group of proletarian writers. New wave writers emphasized aesthetics and the inner experiences of the individual, whereas 카프-KAPF writers emphasized an activist social conscience, with which they confronted the social contradictions of the times. This division was not simply between right and left on the political spectrum. Some poets who were associated with the romantic poetry of the early 1920s, such as 박영희 (b. 1901), became doctrinaire leftists, whereas 이상화 refused to participate in any sort of ideological organization in poems such as “To My Bedroom” and “My Stolen Field” (Ppaeatgin deuredo bomeun oneunga, 1926). Kim Eok turned to the language of folk songs to create a unique style of poetry. 김소월 (1902–1934) and 한용운 (1879– 1944) were two major poets of the mid-1920s who did not participate in any movement or follow trends. The work of these two poets shows how self-identity of the 1920s had become divorced from real human values. These themes were especially poignant amid the darkness of Japanese colonial rule. The poetry of 김소월 deals subtly with losing one’s love (“nim”) and with fleeting feelings of sadness that come from a tragic view of the world that divides the self from real human values. 한용운, on the other hand, based his poetry on an optimistic view of life and a Buddhist view of the world in an attempt to achieve a poetic consciousness that could overcome the existing divisions in the world. The following example is from a poem that 한용운 dedicated to the Indian poet Tagore. It clearly shows how 한용운 used prose-style rhythm to give his poetry great depth 타고르의 시 GARDENISTO 를 읽고 타고르의 시(詩) GARDENISTO를 읽고 Upon Reading Tagore’s “The Gardener” 저자: 한용운 Friend! My friend! You make me cry like 벗이여, 나의 벗이여. 애인의 무덤 위에 피어 있는 꽃처럼 나 a flower blooming at my love’s grave. Friend, who makes me glad as one I 를 울리는 벗이여. encountered in the birdless desert’s 작은 새의 자취도 없는 사막의 밤에 문득 만난 님처럼 나를 night. You are the fragrance of white bones 기쁘게 하는 벗이여. that breaks out of an old grave and 그대는 옛 무덤을 깨치고 하늘까지 사무치는 백골(白骨)의 pierces up to heaven. You are a song of hope, yet without 향기입니다. hope, which one sings through the fallen 그대는 화환을 만들려고 떨어진 꽃을 줍다가 다른 가지에 flowers picked up to make a wreath in the other branches. 걸려서 주운 꽃을 헤치고 부르는 절망인 희망의 노래입니 Friend! My friend, who cries over a 다. broken love. No tears can possibly make fallen blossoms bloom again on their old 벗이여, 깨어진 사랑에 우는 벗이여. branch. Do not shed your tears on the fallen 눈물의 능히 떨어진 꽃을 옛 가지에 도로 피게 할 수는 없습 flowers, but on dust below the flowering 니다. bush. 눈물이 떨어진 꽃에 뿌리지 말고 꽃나무 밑의 티끌에 뿌리 셔요. 벗이여, 나의 벗이여. Friend! My friend! No matter 죽음의 향기가 아무리 좋다 하여도 백골의 입 how good the fragrance of death, 술에 입맞출 수는 없습니다. you cannot kiss the lips of the 그의 무덤을 황금의 노래로 그물치지 마셔요. white bones. 무덤 위에 피 묻은 깃대를 세우셔요. Don’t enmesh the grave with 그러나, 죽은 대지가 시인의 노래를 거쳐서 움 golden song; place a blood- 직이는 것을 봄바람은 말합니다. stained banner on the grave. Yet a spring wind tells you how dead 벗이여, 부끄럽습니다. 나는 그대의 노래를 들 earth is moving through the 을 때에 어떻게 부끄럽고 떨리는지 모르겠습 song of a poet. 니다. My friend, I am ashamed. When 그것은 내가 나의 님을 떠나 홀로 그 노래를 I hear your songs how shamed I 듣는 까닭입니다. am, how I tremble. This is because I am listening to your song all alone, keeping myself away from my love. Modern Korean poetry became even more diverse in the 1930s. Much of this diversity was an expansion of the developments of the 1920s. Increased Japanese political oppression in the 1930s caused all ideological movements to go underground, which meant that poetry that criticized existing social conditions declined or was forced to use indirect methods of criticism. Themes such as self-examination of the inner world of thought, descriptions of urban life, and interest in the world of nature appeared in the poetry of this time. Thus, the poetry of the 1930s took poetic expression and sensibilities to new levels of accomplishment rather than taking on new and difficult subject matter. The first major poetic movement to emerge in the 1930s was the “pure-poetry movement,” which centered on poets such as 박용철, 김영랑, and 신석정, who were involved in the publication of the poetry journal Poetic Literature (시문학), founded in 1931. These poets defined “pure poetry” as poetry that has hidden lyricism and detailed language and feelings unrelated to any social or ideological cause. 김영랑(1903–1950) was one of the key figures of the pure-poetry movement.  From the middle of the 1930s, however, experimental trends that fell into the general category of modernism appeared. These various “isms,” such as imagism, surrealism, Dadaism, and intellectualism, closely mirrored trends in Western poetry. The imagism in the work of 김광균 and the surrealism and Dadaism in 이상 are good examples of the modernist poetry of this era. But cultural trends and forms of poetry are not simply surface problems, they are reflections of the times in which they were written. It is unclear whether the work of the modernists followed international trends in poetry from the beginning or not. Perhaps the most valuable contribution of the modernist poets was the synthesis of their own strong emotions and what they considered “modern,” and their vivid descriptions of the dark side of urban life under Japanese colonial rule. As the modernists were reaching the peak of their success in the last half of the 1930s, another group of poets with decidedly different attitudes emerged. This group rejected the urbanism and the dry intellectualism of the modernists in favor of humanistic themes that dealt with everyday life and the relationship between man and nature. Poets such as 서정주․함영수․유치환, who portrayed the former, are classified as members of the “life school” and poets such as 박목월․박 두진․조지훈, who dealt with man and nature, are classified as members of the “nature school” or “ 청록 school.” The nature school poets went beyond reality and built an imaginary environment of harmony that offered the hope of inner salvation. In comparison, the life school poets examined the urge to live and the fear of death in strong language. 자화상/서정주 The Self-portrait by Seo Jung-ju 애비는 종이었다. 밤이 깊어도 오지 않았다. Father was a servant; he did not come home, though the night was dark. 파뿌리같이 늙은 할머니와 대추꽃이 한 주 서 있을 뿐이었다. All that were left standing were my 어매는 달을 두고 풋살구가 꼭 하나만 먹고 싶다 하였으나…… grandmother, aged like a leek root, and one flowering date tree. 흙으로 바람벽 한 호롱불 밑에 While pregnant, Mother said she wanted to eat 손톱이 까만 에미의 아들 a green apricot, just one. Beneath the lamplight, within earthen walls 갑오년(甲午年)이라든가 바다에 나가서는 돌아오지 않는다 하는 withstanding the wind, 외할아버지의 숱 많은 머리털과 is this mother’s son with blackened nails. They say I take after the thick hair and big eyes 그 커다란 눈이 나는 닮았다 한다. of Grandfather, 스물세 해 동안 나를 키운 건 팔할(八割)이 바람이다. who went out to sea in the year of the Kabo Reform 세상은 가도가도 부끄럽기만 하드라. and never returned. 어떤 이는 내 눈에서 죄인(罪人)을 읽고 가고 The last twenty-three years, the wind has raised eighty percent of me. 어떤 이는 내 입에서 천치(天痴)를 읽고 가나 The more I see the world, the more shameful it 나는 아무것도 뉘우치진 않을란다. is. Some read a sinner in my eyes; 찬란히 티워 오는 어느 아침에도 others read an imbecile on my lips. 이마 위에 얹힌 시(詩)의 이슬에는 But I will regret nothing. Even on the morning that rises brilliantly, 몇 방울의 피가 언제나 섞여 있어 the dew of poetry dangling upon my forehead 볕이거나 그늘이거나 혓바닥 늘어뜨린 is always mixed with a few drops of blood. Through light and shade, I have come this far, 병든 수캐마냥 헐떡거리며 나는 왔다. panting like a sick dog, tongue lolling. 이육사 and 윤동주가 explored the desire to create an independent identity with which to confront the growing oppression of the late Japanese colonial period. 감사합니다