‘新文’으로 호명된 전통 시가의 행방 – 1910년대 잡지 수록 창작시조와 시조비평의 성격

Abstract

This paper is aiming to reveal the nature and meaning of Sijo in the 1910’s, the era that was not duly illuminated regarding its significance. During this transition period, the number of Sijo created has sharply dropped along with its dynamism and vitality. However, the number of original Sijo pieces included in magazines has rather increased compared to the Patriotic Enlightenment Era, even without taking religious or coterie magazines into account. Formal attempts to establish Sijo as one form of the modern literature were also been made. Those include active attempts such as setting up fixed columns within the magazines or trying to make selections of Sijo. The 『Shinmungye(신문계)』 and 『Chosunmunye(조선문예)』 are examples that show these changes in detail. One can identify the characteristics of 1910’s Sijo by analyzing original Sijo pieces and Sijo reviews included in there. Terms for “fixed column” and Sijo pieces were not yet established in the magazine at the time and were being incoherently used at the time. Those who produce and enjoy the poetry were limited to intellectuals and students who were fluent in classic Chinese, and this fact itself also affects the content, style and poetic language of the works. The constraints for the format of Sijo were loosened compared to those contributed to the newspapers in Patriotic Enlightenment Era, so freer form was attempted, the chant-repeated rhythm at the end was dissolved, and the proportion of private Sijo soared significantly. The Sijo review was largely based on short impression reviews or content reviews, and musicality was not considered to be a main characteristic of Sijo anymore but was not completely obsolete yet. The reason Sijo was included in the magazine was not because it was purely considered to be literature, but because identity of being “classic poetry” was of use in a literary way. However, Sijo in the 1910’s-the time of enlightenment- was already transforming from traditional singing piece to an independent literary style and was being recognized as “national poetry” and called as “brand new literature.” This is where we can find the significance of Sijo in the 1910’s; transformation in Sijo’s role and form. In other words, in the era of collision between traditional and emerging genre, Sijo, the representative of traditional poetry, was being reborn as a new genre, converting its traditional heritage of the time.