심훈의 시조에 대한 인식과 작품 세계 - 시조 형식과 작품 세계의 변화를 중심으로 = Sim Hoon’s Perception of Sijo and His World of Works - Focusing on Changes in the form of Sijo and the World of the Work

다국어 초록 (Multilingual Abstract)

The purpose of this article is to examine changes in the perception of Shim Hoon’s sijo form and what trends his world of sijo shows.
In the poems published during the study period and in the June issue of Samcheonli in 1931, Shim Hoon used the form of sijo during the Enlightenment period without considering about the form of the sijo. It shows a monotonous rhythm that consistently maintains the equivalence of the tetrameter meter throughout the first, middle, and final poetry line. Then, in 1932, the beginning of the change was shown through the sijo works cited as examples in “Direct Comments on Puro Literature 1, 2, 3”, and in the handwritten manuscript Simhun Poetry Collection, it was changed from the simple four-note rhythm shown in the previous format, it appears that the general sijo ending rule of ‘Soeumbo―Gwaeumbo―Pyeongeumbo―Soeumbo’ has been established.
In addition, Shim Hoon’s sijo’s tendency to express his feelings or convey his experiences through forming relationships with poetic objects is clearly revealed in the works included in his studies and “Hangzhou Yugi”. Then, in the work that sings about the reality of rural areas created after returning to Dangjin, the reality of rural areas and the lives of the people living there are depicted as if drawing a landscape picture. In other words, captures the joys and sorrows of simple life in a single scene and depicts them realistically. This can be seen as the creative intention to sing and record real life through sijo, the ‘new soul’ of sijo that Sim Hoon advocated in “Direct Comments on Puro Literature 1, 2, 3”.