김영랑 시의 음수율과 시학적 의미 - 「모란이 피기까지는」을 중심으로 -

Abstract

By analyzing Kim Young Rang's poem “Until Peony Will Bloom” in the viewpoint of syllabic meter, this paper is a research that adds new part into existing poetic theory and reveals its meaning. Poetries in Kim Young Rang's book of poems are listed with sole serial number, untitled. This indicates that Kim Young Rang's poetry aimed absolute music than program music. Additionally, by rejecting language which is established on distinct conceptual structure, absolute music attempts to express pure music. Existing poetic rhythm theory is established on principle of equivalence which emphasizes repetition of identical rhyme, phoneme and metre extra. However, the principle of equivalence is not suitable to analyze rhythm of free verse such as Kim Young Rang's poetry. For example, in Kim Young Rang's poetry, “Until Peony Will Bloom”, basic form of rhythm and syntax can be found in forms of double lines which include odd line and even line. In this form, syllabic meter of double lines follows principle of increase and decrease instead of equivalence. The syllabic meter of double lines from the first and the second line to the ninth and the tenth line presents the increasing aspect. Otherwise, the last double lines from the eleventh to the twelfths line presents the decreasing aspect. The principle of increase and decrease reflects Kim Young Rang's ideal of free verse which explains that all of the poetries should have its own singular form. The principle of increase and decrease in syllabic meter of double lines relates with Nietzsche's concept of “spirit of music”. According to Nietzsche, music is appeared as will and expression of human being's will itself. “I will wait for my own spring”, the core theme of “Until Peony Will Bloom”, significantly presents the appearance of will as Nietzsche explains. Ultimately, to embody the dynamic movements of will is the poetic meaning of increasing and decreasing syllabic meter in Kim Young Rang's poetry.