단시(短詩)의 정형성과 그 비교문학적 접근 — 하이쿠(俳句) ‧ 선시(禪詩) ‧ 한국 현대시

Abstract

Haiku is a one-line poem. The one-liner is often misconstrued as a three-linerby foreign language speakers because it is often divided into three lines by manytranslators. This is particularly true of English translations and is a result of overlookingthe essence of the haiku: the singular line represents one life(breath). The haikuis made up of 17 characters and 3 meters and is thought to be a byproduct ofdecisive old discourse. (I personally believe that 7 is the combination of the potential2 meters. The actual meter, therefore, is divided into 4.) In this vein, the haikuand the zen poem are in unison on fundamental grounds. The tightly wovenrelationship between the two is conspicuously seen in the works of the Basho(바쇼). Basho(바쇼) lived in the 17th century during the reign of the shoguns. Notwithstanding, however, Basho(바쇼) enjoyed a time of peace under the protectionof the shogun. Jungsoohaedan(정수혜단) of imjaejong(임제종) had great power atthe time. He was well known for his love of drink as well as for his mastery ofzen poetry. His pupil, Baekeunhahak(백은혜학), also contributed in the reviving ofimjaejong(임제종) and, in following the ways of his master, wrote zen poems. The roots of the Zen Buddhist-traditional poetry can be traced back to the periodof the Six Dynasties. In saryungwoon(사령운), his famous sans souci poem is integratedwith zen. Baekwoonposuk(백운포석), known to many as Hansan's(한산) work, isactually his poem. Early days of Yoo-hyup(유협) of Munsimjyoroyng (문심조룡) areunknown to us, however, in his latter years he decided to become a monk. Laterin the period of Tang and Sung, there was a golden age of zen poetry. Wang-yoo(왕유)of si-suh-hwa(시서화), referred to as si-bool(시불), and the text on the theory ofpoetry si-sik(시식) of Tang Dynasty's Sisueng gyoyun(시승 교연) established the basicprinciples of zen poetry. Songdae Uhmwoo(송대 엄우), in his theory of poetrychangrangsihwa(창랑시화) taught that "the path of the zen as well as of poetry canonly be found in mysterious enlightenment." Such a view was due to the notionthat poetry was mastered through zen and that zen were added in poetic art. Poems that are approached from aspects of understanding and intellectual processesform the majority of today's work. On the one hand, there is a prevalence ofgrammatically wrong articles that are on a totally different level of sensational postmodern writing. Higher worth is allotted to those that are written and understoodin pedantic logic or that which exude post-modern taste, treating them as mostup-to-date, hence, better. The advent of poetry that require intuition is the call ofthe age, and is rightly so, the inescapable demand of the time. This is an introspective penitence for the undoing of poetry as well as the return to the essence of it.