김억의 ‘창작적 역시’의 사적(史的) 의미 -Tagore, 増野三良, 한용운 시와의 관련을 중심으로-

Abstract

This article discusses Kim-eok's poetry-translation and its historic meaning in the point of view that he is the driving force in the formation of Korean modern poetry. His poetry made the foundation of Korean modern poetry; nonetheless his contribution to Korean poetry has not been stood out. In other words, it examines how he meets the demands of the times, the independent acceptance of Western Modern poetry and the creation of Korean modern poetry, through his creative translation,Concretely, it focused on the characteristics that he made modern poetic style and the form of religious prose poem independently then Han Young-Un developed it, by making a comparison between the poetry of Tagore's¡『GITANJALI』 and Han Young-Un's 『Nim-eu-chim-mook』(his silence) and Masino Saburo's 『印度新詩集』(anthology of Indian new poetry). It reviews the historic meaning of Kim-eok's creative translation in Korean literary genealogy and examines his creative translation was not a retranslation from Japanese translated by a Japan scholar to Korean but a direct translation from English to Korean. Above all, Kim-eok's 『GITANJALI』 is excellent even if compared with that of today‘s expert translator as the first translated book in Korean and direct translation. We can also find his poetic style in Han Young-Un's 『Nim-eu-chim-mook』(his silence) published two years later after Kim-eok's 『GITANJALI』. Simply put, Kim-eok uses the most honorific title (‘seumnida’) and ‘ar-’ sentence structure to make lengthy rhythm matching to religious prose poem, and then it develops in the linguistic structure of Han Young-Un's prose poem as a major characteristic. Han Young-Un had accepted Kim-eok's writing style ('seumnida') and developed it as a poetic form and a writing style in his religious prose poetry.