장르 의식의 소산으로서의 정지용 동시 연구

Abstract

In children’s verse as a sub－category of children literature, the most important elements are ‘children’ as a being with ‘children’s mind’ and the use of a poetic language fit for children’s level. Accordingly, it is the core of discussion on Jeong Ji－yong’s children’s verse to examine how he understands children’s mind and what linguistic‐emotional devices he uses in order to narrow the distance to children, the major readers of children’s verse. When we examine the prose included together with the five pieces of children’s verse in the first issue of Hakjo, we can read the writer’s self‐consciousness and his consciousness that the emotion to be contained in children’s verse is the pure and simple mind in childhood that cannot be recovered now in adulthood. Through this, we can find that Jeong Ji－yong did not try it as a practice for writing adults’ verse but created children’s verse based on his deliberation on what contents children’s verse genre should have and in what form. Researchers’ opinions are not consistent on the number of Jeong Ji－yong’s children’s verses. This study sorted out his children’s verses based on：(1) whether they contain emotion and consciousness understandable to children readers; (2) whether they satisfy children readers’ interest in the aspects of linguistic expression and structure; and (3) whether the writer’s genre consciousness is disclosed. According to these criteria, we classified 19 pieces of Jeong Ji－yong’s works into children’s verse, and analyzed how Jeong Ji－yong’s genre consciousness of children’s verse was embodied in these verses. From the aspect of form, Jeong Ji－yong’s verses are similar to other children’s verses in those days in that they pursue a typical meter, but they also show correlation with folk songs as they take the form of 2‐foot matching stanza rather than 7‐5 meter. In this sense, we can say that Jeong Ji－yong’s children’s verse is diachronically connected to orally transmitted children’s songs. Other distinctions of his children’s verse from adults’ verse are the use of plain poetic language and the use of sound symbols for producing an animated environment. From the aspect of contents, on the other hand, his poems reveal strongly the absence of family and the resultant sense of loss. It may be valid to view that this is not from his real life events but from the influence of the trend of children’s verses in his days. It is because the sorrowful emotion arising from the absence of family members was a tendency observed commonly in children’s songs and verses in those days. It is also a characteristic of the contents of his children’s verse to listen to children’s life emotion and to describe innocent children sympathizing with nature.