김억의 번역 한시에 나타난 미의식 연구

Abstract

This study is designed to understand Kim Eok's translation viewpoint based on his Korean version of the anthology of Chinese poems and look into his aesthetic consciousness about Korean modern poetry by giving careful consideration to the traits shown in his real translation on the basis of this understanding. I ultimately studied Kim Eok's aesthetic consciousness shown in his Korean version of Chinese poems by considering the characteristics and rhythmic aspects in the process of his translation of the titles and contents of Chinese poems. This is the significant matter that can explain the influence between his translation of Chinese poetry and Korean modern poetry and ultimately scrutinize the aesthetic source of Korean modern poetry. The following is the result of careful consideration of Kim Eok's aesthetic consciousness shown in his Korean version of Chinese poems. First, the reason he translated Chines poems can be found in his viewpoint of Korean literature. He defines Korean literature as what 'Koreans' reveals 'Korean sentiment' in 'the Korean language.' Moreover, his translation viewpoint can be said "Translation is creation." This is Kim Eok's unique point of view that he understands translation not as the matter of language but as the matter of emotion. From this point of view, he translation reaches the level of recreation of texts by choosing not literal translation but liberal translation. In this study I comprehended it as the situation -oriented translation. The second point is the aspect of translation language. Kim Eok tries to find the aesthetic consciousness of the Korean language through the Korean translation of Chinese poems. As a result of reviewing the process of translating the titles of poems, I could find the cases of translating the original title of a poem literally, using the material of a poem or giving a new title. His titles of poems formed the complementary cooperation with the contents and built up new aesthetic consciousness of poetry in translation. The third aspect is rules of versification. He suggested fixed rules of versification even considering organization of vowels and consonants, repetition of lines and verses, standardization of the number of syllables and timing of pronunciation as the ways of ensuring rhythmic sense of Korean poetry. Among these, what Kim Eok noted is standardization of the number of syllables. It can be confirmed in that the basic rules of versification of the Chinese poems he translated are made up of 3 feet and 7·5 meters. In addition, he felt sorry that there is no rhyme in Korean modern poetry. Thus he tried to realize it in the process of translation of Chinese poems. Therefore, he tries doing liberal translation actively to ensure rhyme in spite of the change of amount of information that the original poem contains. We could judge this rhyme as the unique aesthetic consciousness appearing in Chinese poems in Korean translation.