한국 근대초기문학의 과도기적 특성에 관한 연구 : 시문학을 중심으로 = A study on the Transitional Characteristics of Korean Literature in the Earlier Stage of Modern Period

다국어 초록 (Multilingual Abstract)

The 50 year's history of recent Korean literature has been intensively influenced by the development of western literature of 500 years past. Therefore the characteristics of modern Korean literature should be apprehended in the terms of facters imported from western literature.
Since the Reformation of Kabo up to present-day though the period is less than 100 years, all the literary types and movements have been brought all together at the same time, and they have had to pass the course of experiment in a chaotic state.
In this chaotic period it should be pointed out that Choi Nam Seun, Yukdang, was especially influenced by western poetry, and had contributed to the recent Korean poetry, bringing a kind of reformation to our literature, but the contents of his poems never proceded beyond the style of song and was only deminated with the notes of enlightening exclamation and the like.
Besides Yukdang, we find a few of entirely new devices and something afresh in his technique on the ground that be proceded to such a new poetic form of prose-poem, and that he was affected by the western symbolism, but his contents failed in being those of poetry.
Kim An Seu in co-operation with Whang Suk Woo gave our poets their self-awereness of modern poetry and his early poems were excellent in the case of expression and techniques of modern poetry, compared to his later poems which had the tone of folk song. But while it is to be said that he had not successed expectedly in the making the poems, though contributed to our literature by the translation of foreign poetry and poetic theories, Han Yong Woon absorbed something from foreign poetry, only using it as poetic devices in the making of his poems, kept on his unique position. Not only it is so but it is believed that his 'The Silence of Mister'(님의 침묵), in which we could find the elaborate selection of poetic dictions as well as the available expression of poetic form, should be the land-mark which had sitimulated, in the earlier stage of Korean poetry, its complete conversion to modern poetry. Because not only Korea was a colony of Japan but the western culture was imported through Japan we could find that a lots of foreign elements occupied the situation of Korea in transitional period. It is thus that in such a circumstance the literary projection of 'White Tide'(백조) 'Ruin'(폐허) and 'Rose Town'(장미촌) made up a part of spiritual ground of our modern literature but could not produce any traditional sense deep thought which coincide with the level of modern literature of Korea. They produced nothing but poems in which the poetic dictions of Chinece characters were abused to be difficult, gloomy because of the excess of sentiment, soliloguy and insanity. Otherwise their poems were consistantly concerned with deplorations, sorrows and plaintive notes due to adoration of Mister(님), which were expressed in the forms made up of conventional prosodic facters and the easy arrangement of lines such as those of An Seu's folk songs in his later days.
It is surely that 'White Tide' 'Ruin' and 'Rose Town', disclosing emotion extremely, had indulged themselves in unrealistic world of vision. In the other hand, among the poems treated the traditional Korean feeling we can not say that we could not some poets who succeeded So Weol did to be the great model of poets, but the most of the poets at that time considered that modern poetry is nothing but the arrangement of sentiment and decadent poetic phrases.
Hong Yong Woon presented us the devices and depth of modern poetry based on not only the machanism of pursing the essence of thing and being but also Zen(선) and something of Buddhism. Therefore it is said that Han Yong Woon was able to reach the position of transcendentalist who stands above time and space.
As for the Korean modern poetry it is in the nature itself of the poem as in the western poetry that the definite tradition, the system and the variaous harmony of it must be formulated not only to seige modern themes but also passesst the essential thought of poet and the artificial nature of his spirit, but might we say that above mentioned is acked in our modern poetry? If so, it is wrong. In fact when we investigate the historical nature and the social structure of us we come to realige that European grounds the poetic spirit on the Hellenism and Hebbraismn, but the spirits of Confacianism and Buddhism should be the foundation of uor spirit.
In modern poetry of Korea is there nothing which, as a main spiritual movement, gave the modernistic effects to the poetry? If there is such a movement a precious position should be spared for it. The tradition of historical thought of korea is the foundation of Buddhism and the thought of Zen(선) will be the elements which coinside with the nature of Korean poetry.
It is not that both Han Yong Woon and Seu Jeeng Joo have discovered their traditional supprter through the influence of Zen on the tradition of our modern poetry?
Consequently in the earlier stage of our literature overflowed with foreign facters it is by the appearance of Man hais's 'The Silence of Mister'(님의침묵) that we ourselves have come to the awareness of modero poetry from the different demension, and might have founded the broad historical nature and the transitional base of our modern poetry.