박재두 시조의 창작방법 연구

Abstract

This article explored the possibility of modern Sijo through the creation method of Sijo of Uncho, Park Jae-du. His works include the concerns about the orientation of Sijo and modernity between the boundaries of transformation of format and destruction experimentation. It is a unique example that reached for adhering to the set pattern of Sijo and for the possibility of stylistic experimentation at the same time, while he sensuously took the autonomy of utterance of lines in a poem, the frequent uses of quotation marks and an ellipsis, and experimentation nature of long Sijo. By taking frequent changes of lines and stanza as a poetic format, he brought a tone to be a short breath. And sometimes he brought the long breath, while he divided the last of the 3 verses, or forced phrases and chapters to be proceeded continuously. Citation of quotation marks and an ellipsis were also properly used when a critical voice was raised, accusation was desired by borrowing someone else's utterance, or consolation or introspection were needed. The double quotation marks, that convey the vivid voice of the poetic narrator, function as a writer's strategy that considered the poetic sense and the visual effects of the image. An ellipsis of the only high frequency gives the effect of adhering closely to the deep lyrical lingering imagery, implications and significances of meaning, and aesthetics of hiding. On the other hand, the format of long Sijo which combines basic Sijo and Sasul‒Sijo, and the creation of the format of long Sijo through unfamiliarly arranging lines didn't only obtain effects of the changes in the format, but obtained internalization of meaning and orientation of thematic consciousness. Once the creation and the analysis work must be done in the strained relations between meaning and format, a change of Sijo can dispel criticism against an attention to try an exception of lines and phrases meaninglessly. The aesthetics of Park Jae-du's Sijo can be found where he looked after the root of tradition and constantly promoted experimentations of new format, although he considered the tension and contradiction that still existed between the content and the format.