『靑春』 소재 한시 연구

Abstract

This paper explored the characteristics and significance of the Classical Chinese poetry of Ch'ŏngch'un(靑春), in which classical literary and modern literary studies were not interested in common. Through this, it was discussed that poets who pursued 'modern poetry' in the 20th century while using an authentic precedent(典故) of context in Classical Chinese letters(漢文脈) tried to portray the modern artifacts and to criticize the contemporary reality while using the Classical Chinese poetry as a medium. In other words, in order to ask what is 'modern poetry', it is necessary to understand the contemporary Korean poetry, Classical Chinese poetry, and the context in which they interacted. Only when it reveals such multilayer, we can examine the history of Korean modern poetry without distorting the Korean poetry with a biased view of emphasizing only vernacular Korean language or standards of 'Western modernity'. To this end, this paper first discussed the possibility that Chʻoe Nam-sŏn is the author of Classical Chineses poetry in Ch'ŏngch'un. First of all, all the articles in Ch'ŏngch'un without author’s name can be assumed to be Chʻoe Nam-sŏn’s. In addition, Chʻoe Nam-sŏn has confessed his desire to write a Classical Chinese poetry, and published a Classical Chinese poetry in Sonyŏn(少年). Also praise of Paektusan(白頭山) and Tanʾgun(檀君), poetry about groups he had participated(新文館, 朝鮮廣文會), and the poetry which shares the ideas and expressions with the prose written by Chʻoe Nam-sŏn confirms that the Classical Chinese poetries of Ch'ŏngch'un are the works of Chʻoe Nam-sŏn. Classical Chinese poetries of Ch'ŏngch'un actively utilized authentic precedents of context in Classical Chinese letters. It is a technique that enriches the meaning of poetry and enlarges the sympathy of readers by resonating with the past poets. The fact that the idea of poetry which was captured by authentic precedents implies Classical Chinese poetry sensibility. In addition to this, efforts are also being made to capture the new modern artifacts of the time. This is because Classical Chinese poetry was not a stuffed tradition but a medium to capture the reality of the time. Also severe censorship was bypassed through figurative Classical Chinese poetry using animals to criticise contemporary reality. Especially, when compared with the Korean poetry of Ch'ŏngch'un, the Classical Chinese poetry’s criticism is remarkable. This criticism of Classical Chinese poetry was possible because it is more implicit and difficult to understand. The history of Korean literature consists of mutual negotiation between Chinese literature and Korean literature, and the period of modernity was no exception. As this paper reveals through the study of Ch'ŏngch'un, Classical Chinese poetry certainly played its role, and Chʻoe Nam-sŏn, a pioneer poet of 'modernity', made use of its role to make 'modern literature'.