육당의 신시 의식과 형식 개념에 대한 고찰

Abstract

An Analysis of Yukdang's new poem consciousness and poetic form concept At the age of transformation where the paradigm of creation and enjoyment undergoes a sea change, the features of a syllabic verse become salient, which are different from our own poetic form. There is an argument that the forms of modern poetry has been gradually evolved toward the already-settled goal of free verse. This is only a schematic theory of development. Tradition is not simply pinned down, but it is flexible in concordance with the reality. The new poetic form in modern poetry was construed as a visible form. It is made possible by influence of the fundamental construction of our poetry, disparate from the syllabic verse. Yukdang posits that the essence of a new kind of poem lies in the extrinsic form. The external image for not-known-yet modernism, molded through such offsprings of civilization as maps, trains, and scores, makes him suppose that a new kind of poetry should take a tangible format. Since shijo, in particular, is the aesthetic ideal of verse, a new form should correspond to that of shijo, still being differentiated from it. As far as Yukdang is concerned, the seven-five seems to be the embodiment of formalism, necessary for a new type of poetry. Therefore, the form does not interact with meaning, which amounts to partiality for the outward form.