격변기, 박목월 시의 과도기적 성격― 시집 미수록 작품을 중심으로

Abstract

Mok Wol Park published Cheongrokjip, a joint collection of poetry, in 1946, right after Korea's liberation from Japanese colonial rule, and then in 1955, about nine years later, he published his first personal collection of poetry, namely Sandohwa. During the period of nine years between both collections of poetry, the Korean Peninsula underwent radical changes with the liberation and the Korean War. Although his perspective of nature in some poems in Sandohwa changed subtly, most of poetic subjects and forms in both collections of his poetry did not change significantly yet. Poems published in Juksun, a literary magazine in which he played a leading role just after the liberation, had similar characteristics with his former poetry, and based on natural subject materials and consistent rhythms. However, this isn't to say that Mok Wol Park did not change poetically at all. His comments in Simunhak, a literary magazine he firsthand published in 1950, presented his craving for new poems. Most of poems contained in Sincheonji and some poems contained in Munye seemed to expose Mok Wol Park's agony straightforwardly. As a result, those poems were not included in his personal collections of poetry. Mok Wol Park's full-fledged change of poetic forms initiated with the Korean War. Most of his poetic works uncontained in his collections of poetry in that period, therefore, disclose his transitional characteristic of poetry nakedly, and we must pay attention to it. In that period, his poetic subjects changed from nature to everyday life or human beings, and his poetic forms from constant rhythms to descriptive ones. In conclusion, Mok Wol Park's poetic works published in literary magazines but uncontained in his personal collections of poetry in the period of the Korean War expose the process of his changes nakedly and have a crucial effect on the forms of his poetic works afterwards.