김용호의 「낙동강」 연구 - 서정 장시의 형태적 특성과 주제 의식의 상관성을 중심으로 (The Study of Kim Yong-ho’s “the Nak-dong River”- Centered on Correlatedness between Formal Properties and Thematic Consciousness of Lyrical Long Poems -)

서지정보

· 발행기관 : 한국어문학회
· 수록지 정보 : 어문학 / 100호 / 387 ~ 410페이지
· 저자명 : 이성우

초록

Kim Yong-ho’s “the Nak-dong River,” a poem that figured our nation’s weary life with the Nak-dong River as its setting in a period when it was taken as criticism of the reality even to reveal the reality as it was, shows several formal properties with respect to making the theme of accusation of the nation’s reality in the Japanese Imperialist period contained in the literary mode of poetry. At the same time, these formal properties, conversely, play the role of emphasizing the theme that the poet initially intended toward, or making them vague.
One of the prominent formal properties of this poem is that though a lyric, it is long and has a certain plot. Thus, the concept of the ‘lyrical long poems,’one contrasted to that of the ‘long epic,’ applied to this work by me, does include a story from an objective viewpoint, but has its own distinctiveness in that the story is not arranged in order with the components of characters, events, and backgrounds.
The greatest reason why this work can maintain the objectiveness of narration though it is a lyric is the shift of viewpoints that unify ‘I’ and ‘we.’ Based on this objective viewpoint, the poet criticized the reality of the colony under the Japanese Imperialist ruling. In addition, he regretted his stupidity with which he had not looked dispassionately at the reality. With “Gwi- chok-do,” which I take into account along with this poem, we can confirm that the effective shift of viewpoints in it makes it possible to have the effect of delivering a very dramatic and multi-dimensional story. It seems necessary to continue developmental work on this on both the sides of poem creation and criticism.
This poem in the form where the narrator recollects the past in temporal order while having left from the shore of the Nak-dong River gains certain effects by using exclamatory repetitions like “My loved river!/the River of Nak-dong!” in order to regulate the flow of rhyme and meaning. However, this attempt results in the negative effect of revealing subjective lyricism by excessively simplifying the structure of the poem and repeating the strong feeling of the first person narrator. We cannot help asking the essential question whether such repetitions and exclamations do bring out any amplification of meaning in the context of the whole work.
On the other hand, whereas this work has been successful in figuring the colonial reality from a critical viewpoint, it reveals its limitations in that it was not able to present any better vision for future. This seems to be related with the fact that the retrospective structure of this poem begins with a certain past as its criterion, and ends with the dark reality of the colony. However, this work should be recognized with its literary values based on the fact that it was a brave comment of the reality by the poet who stand in front of the history, and that it presented the possibility of extending the lyric on the side of genre when one figure such a kind of theme through its formal exploration with the ‘lyrical long poems.’

영어초록

Kim Yong-ho’s “the Nak-dong River,” a poem that figured our nation’s weary life with the Nak-dong River as its setting in a period when it was taken as criticism of the reality even to reveal the reality as it was, shows several formal properties with respect to making the theme of accusation of the nation’s reality in the Japanese Imperialist period contained in the literary mode of poetry. At the same time, these formal properties, conversely, play the role of emphasizing the theme that the poet initially intended toward, or making them vague.
One of the prominent formal properties of this poem is that though a lyric, it is long and has a certain plot. Thus, the concept of the ‘lyrical long poems,’one contrasted to that of the ‘long epic,’ applied to this work by me, does include a story from an objective viewpoint, but has its own distinctiveness in that the story is not arranged in order with the components of characters, events, and backgrounds.
The greatest reason why this work can maintain the objectiveness of narration though it is a lyric is the shift of viewpoints that unify ‘I’ and ‘we.’ Based on this objective viewpoint, the poet criticized the reality of the colony under the Japanese Imperialist ruling. In addition, he regretted his stupidity with which he had not looked dispassionately at the reality. With “Gwi- chok-do,” which I take into account along with this poem, we can confirm that the effective shift of viewpoints in it makes it possible to have the effect of delivering a very dramatic and multi-dimensional story. It seems necessary to continue developmental work on this on both the sides of poem creation and criticism.
This poem in the form where the narrator recollects the past in temporal order while having left from the shore of the Nak-dong River gains certain effects by using exclamatory repetitions like “My loved river!/the River of Nak-dong!” in order to regulate the flow of rhyme and meaning. However, this attempt results in the negative effect of revealing subjective lyricism by excessively simplifying the structure of the poem and repeating the strong feeling of the first person narrator. We cannot help asking the essential question whether such repetitions and exclamations do bring out any amplification of meaning in the context of the whole work.
On the other hand, whereas this work has been successful in figuring the colonial reality from a critical viewpoint, it reveals its limitations in that it was not able to present any better vision for future. This seems to be related with the fact that the retrospective structure of this poem begins with a certain past as its criterion, and ends with the dark reality of the colony. However, this work should be recognized with its literary values based on the fact that it was a brave comment of the reality by the poet who stand in front of the history, and that it presented the possibility of extending the lyric on the side of genre when one figure such a kind of theme through its formal exploration with the ‘lyrical long poems.’

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