부재하는 형식과 전후(戰後) 한국시의 개별적 실존 - 송욱의 시학(詩學)과 시의 언어들이 갖는 의미 -

Abstract

Criticism of Song Wook is based on existentialism and the principles of New Criticism, and also it is the full-scale visualization of symbolism prospect, understood superficially in Korean literary history. This work was possible because Song Wook, who lived in the wake of the war and the liberation, had to break the consciousness of the past and the common sense of world literature, which were constructed empirically. However, the discourse on the severed tradition of Song Wook is similar to that of Yi Kwang-su. The absence of tradition in Korean poetry does not differ from the absence of form in Korean poetry in the ideas of Song Wook. Translator-poets always call the lack of the Korean language as the absence of form in Korean poetry. It was, in other words, of the “format” that “music” and “rhyme” have always been the most important factors in modern poetry in their thoughts. In addition, in the evaluation of the poems of Song Wook, conflict between “prose” and “verse/music” began to appear. The trend of prose in modern poetry, regardless of the old generation and the new generation, was quite alarming to people. The value of Song Wook's poetry was in that it elevated the content of the prose to the format of verse. However, the text in the poetry of Song Wook either broke the awareness of his presence or exposed the torn body language. The significance of Song's text lays not in its musical accomplishment and analysis related to Korean poetry but in the embodiment of 'torn words', sprouting from the war, the fault plane. Hence, the form of poetry is not composed of the essence, the poetic musicality but assembled by vitality and breathing of present language.