한시의 근대적 전유, 자기화의 가능성 - 김억의 『忘憂草』(1934)를 중심으로 -

Abstract

The major purpose of this study was to shed light on the meanings of Mangwoocho(忘憂草, 1934), a translated collection of Chinese poems by Kim Eok with a focus on the various aspects of his literary itinerancy. His Mangwoocho was translated when they made an attempt at national literature and renovation of poetry and tried to turn poetry into music. It is a touchstone to understand him as a translator rather than a poet and also the significance of translation of Chinese poetry and detect the following contextual changes. Mangwoocho was also his effort to explore and practice the archetype of Oriental emotions through Chinese poetry and the result of his search for the possibility of writing in Korean during the early modern times through the appropriation and privatization of heritage of Chinese literature. The present study especially focused on that his translation of Chinese poetry and Mangwoocho were deeply influenced by Satō Haruo(1892~1964)'s translation of Chinese poetry before him and his Shasinshu(車塵集, 1929). Both Kim Eok and Satō Haruo searched for the archetype of Oriental emotions by translating Chinese poems at a similar time, which means that there were scenes of dialog produced around the appropriation and privatization of Chinese literature before the modern times in East Asia or between the empire and colonies during the modern period. Those circumstances imply that Kim Eok's translation of Chinese poetry was not a national event that went against the ideals and values of modern poetry or made a regression in that aspect. They also lead to questions about the significance of his translation of Chinese poetry and Mangwoocho in the dimension of East Asian phenomena related to the practice of modern writing in non-Western regions.