한국 현대시의 리듬 이론 연구:역사와 현황(2) - 1924년에서 1930년까지

Abstract

The definition of rhythm had been debated during the 1920s. It was firstly described as a replacement of the absence of meter in free verse, secondly as a residue of fixed verse deprived of meter and rhyme, and lastly as a blank, that is, an unsubstantial substance. Several attempts had been made to fill this blank with musical components, such as melodies, notes, songs, sounds, and tones. Yang Ju-Dong suggested the equations: “traditional poetry = meter of form” and “free poetry=meter of content”, by designating the latter one as rhythm. He also identified two elements of rhythm, “sound(語音)” and “stress(語勢)”. Kim-Ok, on the other hand, described rhythm as ‘movement with constant measure” based on rules and constraints. Rhythm here can be understood as a formal tone, located outside a given poem. Regarding poetry as verse, Kim Ok applied the notation system of fixed verse to present the commonalities of plural definitions of rhythm. In his theory, rhythm of free verse is defined as an 'inner-meter’ that breaks all forms. Kim Ki-jin affirmed that poetry, whether free or fixed, must have something that brings about singing. Rhythm is a method and a aspect, as well as a musical component of this song, The thrust of his theory is to arrange the notes which can be strong(剛)-soft(柔), clear(淸)-thick(濁), and long(長)-short(短). Lee Ha-yoon figured out that the center of verse is rhythm. For him, rhythm is a passage of time with constant intervals and is hereby synonymous with rule, measure, and music. He reasoned that the occurrence of free verse cannot be explained by monotonous, mechanical rhyme. Rhythm is defined here as a form that is derived from 'sentiment-life' coming out naturally, as rhythm “leaks” from the “internal necessity” that will seal the dichotomy between form and content. The schema of “rhythm = inner-meter’ is thereby completed.