백석 시의 통사와 리듬

Abstract

Many researchers are aware of the obvious rhythm of Baek-seok’s poetry. However, few people have figured out that the operating principle of rhythm combines with meaning. Concepts of conventional rhythmic theory, such as ‘meter’, cannot be tools for understanding the complex rhythm patterns of modern poetry. Henri Meschonnic’s concept of rhythm was the trigger for a new rhythm discussion. More important than the concepts of rhythmic theory is the principle of rhythmic theory. Henri Meschonnic chose ‘syntax’ as the first principle of rhythm. The fundamental principle that researchers missed was syntax. The absolute element that casts the rhythm, operates the rhythm, and combines the rhythm with the meaning was syntax. They forgot to do so and focused on prosody, tempo, and accent, which must be organized by them. The secondary phenomena and effects of rhythm were mentioned. But the key to the process of a one-way integration of ‘rhythm-meaning’ how it combines with the meaning of poetry. This paper returns to the source of rhythm. When we mentioned a combination of ‘rhythm-meaning’ when Meschonnic stressed that rhythm is not just a form of poetry, we didn’t recognize the substance but hidden power of rhythm. Syntax is the first and final step of the rhythm analysis. The rhythm is understood only when you analyze syntax. This paper will illustrate the patterns of the rhythms of Baek-seok’s text based on the interpretation analysis. It will explore the process of organizing the rhythm, and how it combines with the rhythm, and how it organizes the topography of the entire rhythm of poetry text. They will also understand how prosody will be determined by syntax.