심훈의 시조관과 시조의 변모 과정 연구

Abstract

This study aims to speculate Sim Hun's perspective on Sijo and change process of his Sijo. First, there are 27 Sijo works, left by Sim Hun. And this number may increase if yeonsijo(연시조) is counted as independent works. Secondly, in “Straight Speech on proletarian literature”(「프로문학에 직언 1, 2, 3」), Sim Hun opposed the sijo, which is nothing more than the sijo depicting sagunja(사군자) and beautiful scenery. And he insisted that the writer of sijo should put ‘new soul’ into sijo. Here, ‘new soul’ is interpreted as feeling and emotion emanating from a real life. Next, in “Pil-gyeong-sa-jab-gi”(「필경사잡기」), he wrote that he did not come to Dangjin in order to describe farming village as a place of leisure and seclusion. Third, Sim Hun's sijo world shows a tendency to move from a personal record to a public record and from an abstract idea to a concrete, realistic world. His sijo, which is included in the diary of 1920, deals with personal friendship, while in “Hangzhouyugi”(「항주유기」), which was published in 1930’s, Sim Hun expressed his self-consciousness as a colonial youth. And in his sijo works, which were published in 1934, Sim Hun practiced his view on the sijo which was shown in “Straight Speech on proletarian literature”(「프로문학에 직언 1, 2, 3」), and he described the reality and poverty of the colonial rural area.