육당 최남선과 석전 박한영의 여행기 『풍악기유(楓嶽記遊)』 － 두 남자의 여행, 두 개의 글쓰기－

Abstract

Pungak-Giyu is a co-authored by Choi Nam-seon and Park Han-young. Choi Nam-seon described the schedule and sentiments of the trip to Mt. Geumgang by Korean prose and Park Han-young presented the feelings during the trip in a compact way by classical Chinese poetry. Until now, Pungak-Giyu has been studied many times, but most of the studies have not even mentioned Park Han-young’s poems, and the studies mentioned have just pointed out that Park Han-young’s poems are also included. This is based on the implicit premise that modern Korean literature is consists of only with vernacular Korean texts. This presupposition distorts the perception of this period by studying only Korean texts, but this period’s texts were abundant with classical Chinese texts. Therefore, this paper studies Choi Nam-seon’s Korean text and Park Han-young’s classical Chinese poetry together, and discussed the interaction and meaning of these two texts. The prose of Choi Nam-seon and the poetry of Park Han-young are closely related. Choi Nam-seon confesses that he can not express Mt. Geumgang in his writing and he keeps asking how poet should expressed it. Subsequently, Park Han-young’s classical Chinese poetry comes up and suggests Mt. Geumgang in very compressed way. In addition, Choi Nam-seon suggests Park’s sentiments for traveling, and Park Han-young’s poetry follows it and express his feelings. The dual writing of Korean prose and classical Chinese poetry reflects the contemporary textual environment on several levels. First, this reflects the demand of classical Chinese readers. In the 1920s and 1930s, readers learned classical Chinese from their childhood, and many people wrote classical Chinese poem. At the same time, the modern media was being reorganized around the vernacular Korean language, and Koreans had to acquire Japanese, Korean and classical Chinese at the same time in general education. Second, the literature on the mountain of Choseon, especially the Mt. Geumgang, was composed mainly with classical Chinese poetry, and this was the widest and most sophisticated work that Choi Nam-seon could utilize to describe Mt. Geumgang. Third, Park Han-young, who was comprehensive of history,g eography, culture, and myths of Korea, was still a person expressing his appreciation in a classical Chinese poem, and classical Chinese prose. Choi Nam-seon is a person who tried to enlighten as many Koreans as possible through Korean prose. This textual environment yielded bi-lingual Pungak-Giyu of Korean prose and classical Chinese poetry. The analysis and evaluation of“Korean text” should be made broader and deeper, including these Korean-Classical Chinese Texts, in order to fully understand colonial period Korean literature.