번역과 조선시형의 창안 -김억을 중심으로-

Abstract

The process of accepting foreign literature proceeded in around the year 1920 was a core motive to embody the direction and aspects of Korean modern literature. Existing translators totally focused on contents of text in translation while Kim Eok respected not only contents but also form. His translation activity has the character of sudden prominence in that the work was the first one to really approach the real entity of genre of poetry. Differently from other literary persons, Kim Eok was not nearly obsessed by original text(source language text) and he clearly recognized that poetry is a literary genre where signifiant and signified cannot be separated. This thinking develops to the recognition that translation of poetry is impossible and is a work to create new poetry and poetic form. Kim Eok explored new poetry of Choson through translation and 'sentiment and refined poem' was disclosed in this process. He did not recognize form of poem as a frame of fixed form but recognized as 'expression of human inner movement.' He was aware of all phonetic qualities of poetry as main factor closely related to contents of poem. 'Poetics of sentiment' was originated from Kim Eok's viewpoint of poem that phonetic factor of poem is important and eventually the meaning-for meaning principle is refused. Later, 'Poetics of sentiment' was transformed to 'refined poem' that emphasizes practice of primitive emotional expression. The change from sentiment to refinement meant partial collection of attitude to recognize phonetic quality of language as non-material soul of language contents and to completely open the possibility of phonetic quality of poetic language. This is a product of Kim Eok's consciousness for rhythm and at the same time, a result of poetic consciousness emphasizing phonetic quality of poem -he pursued refined form between Poems of fixed form and free verse. Kim Eok tried 'creative translation' through recognition about impossibility of translation of poem and based on such a series of understanding and work, he could reach the deep recognition about mutual subjectivity inherent in the translation process and peculiar quality of poetic language. His understanding and aesthetic limit about poetic musicality shown in the process where poetics of sentiment was transformed to refined form, was closely related to the achievement and failure of the history of Korean modern poetry. Such his work in translation may be strong base to explain the process of inner change in history of Korean modern poetry.