隱喩라는 文法, 노래라는 作法 - 近代詩(歌)의 朝鮮語 口語體 詩 樣式의 摸索 過程과 漢字語의 機能에 대하여

Abstract

This paper figures out the relationship between the ‘modern ideal of writing’ and Chinese character word. As the matters of the identity of written and spoken language, of form, and of rhythm are central tasks underpinning the origin of the Modern Poetry, the problem searching the relationship between the Chinese character word and the Modern Poetry was barely the subject for the discussion. Except for the case of controversy for its usage and orthography, this paper had focused on the problem of Chinese character word. The central object was Younghee Park and Eok Kim; the former’s inclination was called “like Hoiwol”, the latter’s “like Anseo” The one ideal of composition of Modern Poetry was constructing the metaphor to our language’s sentence, while regarding it as the content of the poetry(modern aesthetic ideal); the other is deriving allusive and mysterious philosophy of life from the movement of subtle sound and image. The colloquial Korean, then, becomes the essence for writing and the main agent for the expression called the ‘composition in writing’ In this process, the function of the Chinese character word gets the attention. This paper could be summarized like this: the Chinese character word is demanded in the poetry of Eok Kim for producing the aesthetic pitch of song from late-Chosun Dynasty; in the one of Younghee Park for forming the discussion of metaphor. These two currents had become the opportunity for the Rising Poets at late-Japanese colonization to construct the complete model of the poetry composed of our colloquial language, while leading the history of Modern Korean Poetry.