정지용 시가 윤동주에게 미친 영향

이숭원(Lee, Soong-won) 한국시학회 2016 한국시학연구 Vol.- No.46

1935년 10월 27일에 출간된 『정지용 시집』은 많은 문학 지망생에게 읽힌듯하다. 윤동주는 1936년 3월 19일에 이 시집을 구매하여 시를 읽으며 시집여백 여기저기에 자신의 감상을 적어놓았다. 정지용의 시를 정독하며 한 구절한 구절을 깊이 음미하려 한 것이다. 정지용의 시는 윤동주만이 아니라 다른 시인들에게도 영향을 끼친 사례가 보이는데, 윤동주에게는 영향의 흔적이 더욱 뚜렷하게 나타난다. 정지용 시의 영향은 습작기의 작품인 1938년까지의 시에 많이 나타나는데, 이 작품들은 발표를 염두에 둔 것이 아니라 노트에 메모해둔 것이어서 정지용 시에서 읽은 구절을 무의식적으로 활용한 대목이 많다. 정지용의 시는 언어 표현에 주력하는 방향으로 전개되었고, 윤동주는 자신의 고민과 사색을 표현하는 데 주력했기 때문에, 두 시인의 시상이나 주제는 상당히 다른 양상을 보인다. 그렇기 때문에 영향의 흔적은 주로 시어나 표현의 차원에 국한되어 나타난다. 이것은 정지용 시에 심취한 윤동주의 독서 체험이 복잡하게 재구성되어 나타난 것이다. 1939년 9월 이후 본격 창작기의 작품들은 윤동주 자신의 독자적 사유에 바탕을 둔 성숙한 표현을 구사하고 있다. 이 시기에 이르러 윤동주는 타인의 영향에서 벗어나 독자적인 시인으로 자신을 정립하게 된 것이다. 이 논문에서 13편의 작품에 나타난 영향의 흔적을 검토했는데, 이것은 상당히 많은 숫자다. 이것은 정지용의 시가 지닌 강력한 문학적 영향력을 방증하는 일이기도 하다. 그러나 이런 사실 때문에 윤동주 시의 가치가 절하되어서는 안 된다. 왜냐하면 여기서 검토한 윤동주의 시 13편이 모두 그가 노트에 적어놓은 습작품이기 때문이다. 최초의 윤동주 시집에 비해 현재 나온 최종 판본에는 88편이 추가되어 있는데, 이 작품들은 대부분 윤동주가 노트에 적어 놓은 습작품들이다. 이 작품들이 윤동주 시집에 그대로 들어와 다른 작품들과 대등한 자리를 차지한다는 것은 재고할 문제다. 그런 점에서 윤동주의 경우 연구용 시 전집과 독자 보급용 시 선집을 따로 내는 것도 바람직해 보인다. The Poetic Works of Jeong, Ji-yong published on October 27, 1935 has probably been read by many literature aspirants. Yun, Dong-ju purchased this collection on March 1, 1936 and as he read the poems, he wrote his own sentiments in the blank spaces of the book. It was his way of intensively reading and appreciating each line of Jeong, Ji-yong’s poems. The poetry of Jeong, Ji-yong influenced poets other than Yun, Dong-ju as well but his influence on Yun, Dong-ju appears to be more distinct. The influence of the poetry of Jeong, Ji-yong can be seen a lot in his early works written before 1938 and because these works were written as memos in his notes rather than for the purpose of being made public, there are many passages which unconsciously use lines read from the poetry of Jeong, Ji-yong. The poetry of Jeong, Ji-yong was developed in a direction that mainly concentrates on linguistic expression and Yun, Dong-ju concentrated on expressing his own concerns and meditations so the thoughts and topics of the two poets show incredibly different aspects. Because of this, the traces of influence are mostly limited to poetic diction and dimensions of expression. This is a complex reconstitution of the reading experience of Yun, Dong-ju as he was absorbed in the poetry of Jeong, Ji-yong. Pieces written in the creative stages after September of 1939 have a good command of mature representations based on Yun, Dong own grounds. By this period, Yun, Dong-ju had broken away from the influences of others and had established himself as an independent poet. This thesis reviewed the traces of influences in 13 pieces and this is a considerably high number. This is also proof of the strong literary influence that the poetry of Jeong, Ji-yong possesses. However, the poetry of Yun, Dong-ju should not be devalued because of this fact. The reason is because all 13 poems reviewed here were early pieces written in his notes. Compared to the first Yun, Dong-ju poem collection, the current and final manuscript has an addition of 88 poems and most of these are early works which were written in Yun, Dong-ju’s notes. The fact that these pieces are equally placed alongside Yun, Dong-ju’s other works in his poetry collection is an issue worth of reconsideration. At this, it seems proper that in the case of Yun, Dong-ju, collections should be separately presented, with one for research and one to be supplied to readers.

백석 시어 연구의 기념비적 업적

이숭원(Lee, Soong-Won) 한국시학회 2015 한국시학연구 Vol.- No.44

이 책은 시 작품에 어휘가 사용된 의미 맥락을 고려하여 표제어를 분류하고 재구성한 사전이다. 백석 시에 사용된 시어의 의미를 구명하고 그것이 사용된 맥락에 따라 유형을 나누고 각각의 분류 항목 안에서 용례를 들어 뜻을 풀이한 것이다. 이러한 작업은 시어와 시어가 사용된 의미 맥락을 함께 고려하게 함으로써 백석 시어의 특성과 다양한 쓰임새를 포괄적으로 이해할 수 있게 한다. 또한 통계적 빈도수에 의해 백석이 애용한 시어가 무엇이고 사용한 시어가 어떠한 분포 영역을 갖는지도 과학적으로 확인할 수 있게 했다. 이 책의 이러한 성과는 전례 없는 최초의 업적이다. 책의 1부에 백석 시어의 분류 목록과 분류별 표제어의 어석과 용례를 싣고, 2부에 표제어 전체를 자모순으로 배열하고 축약한 어석과 본문의 쪽수를 제시함으로써 표제어가 풀이된 구체적 내용을 다시 찾아볼 수 있게 했다. 많은 사람들의 지혜와 노력이 결집되어 이렇게 과학적인 편제를 갖추게 되었으니 인문학 연구의 모범적인 사례로 내세울 만하다. 이 책은 유사한 시어가 어떠한 맥락에서 사용되고 어떠한 빈도로 나타나는가를 한눈에 알 수 있게 해 준다. 개별적 시어들을 충실히 음미하게 함으로써 언어의 질감과 세부를 파악할 수 있게 한다. 가능한 한 많은 참고자료에 입각하여 명확한 학문적 근거에 의해 시어 해석을 진행했다. 다양한 사전을 참고하여 시어의 뜻을 학문적으로 구명했고, 사전에 제시된 의미 풀이를 시의 문맥에 맞게 새롭게 제시했다. 그림과 지도를 활용하여 시어 의미 파악에 도움을 준 점도 매우 유용하다. 본문의 서술에서 정확한 근거에 의해 시어를 해석함으로써 시를 올바로 해석할 수 있는 방향을 잡아주고 새로운 이해의 길을 열어준 대목은 매우 많다. 시어의 정확하고 독창적인 해석에 의해 백석 시 연구의 새로운 활로가 열릴 것이다. This is a dictionary that examines semantic context in which words are used in poetic works and classifies and reorganizes the headwords in them. It figures out the meaning of poetic words used in Baek, Seok’s poems, classifies them according to the context in which they are used, and defines them with examples within each of the categorical items. As this task involves consideration on poetic words as well as semantic context in which they are used, we can understand the characteristics of Baek, Seok’s poetic words and many uses of them inclusively. Also, it allows us to know what poetic words are often adopted by Baek, Seok through analysis on their statistical frequency and what distribution area the poetic words form scientifically. The achievement of this book is first and unprecedented. The book’s Part 1 contains the list of categories of Baek, Seok’s poetic words, the interpretation of headwords in each category, and examples. Part 2 arranges the entire headwords in alphabetical order and presents the interpretation of abbreviated words and the number of pages in the body so that we can go back to the detailed contents defining the headwords. This scientific organization was realized thanks to a lot of people’s wisdom and effort, so it can be set forth as an exemplary case of studies on humanities. This books lets us see in which context similar poetic words appear and their frequencies at a glance. It allows us to appreciate individual poetic words faithfully and understand the texture and details of language. Referring to references as many as possible, it interprets the poetic words based on clear academic grounds. It figures out the meanings of poetic words academically referring to various dictionaries and suggests the definition of words in the dictionaries in a new way according to the context of those poems. It is also very useful because it helps us to figure out the meanings of poetic words by using pictures or maps. In the body, it interprets poetic words based on precise grounds, so it presents the course to analyze the poems rightly, and in many parts of it, it opens the new paths of understanding. Through accurate and original interpretation on poetic words, it will be possible to open a new way out for research on Baek, Seok’s poems.

1915년 출생 문인의 문학사적 위상

이숭원(Soong won Lee)(李崇源) 서울여자대학교 인문과학연구소 2016 인문논총 Vol.30 No.-

강소천, 곽종원, 박목월, 서정주, 임순득, 임옥인, 함세덕, 황순원 등의 문인들은 1915년 일제강점기에 태어나 이십대에 한글로 작품 활동을 시작하고, 해방을 맞아 본격적인 문학 활동을 전개하여 문학사에 뚜렷한 업적을 남겼다. 그 이후 6·25 전쟁을 겪어 참화의 쓰라림을 함께 경험했다. 요컨대 이들 문인들은 국권 상실, 해방, 전쟁, 분단, 재건으로 이어진 한국 현대사의 파란의 시대에 문학인으로 출발하고 성장한 공통점을 지니고 있다. 이들은 분단과 전쟁으로 빚어진 민족 재편성의 과정을 압축적으로 보여주는 문화적 축도의 역할도 한다. 강소천, 임옥인, 황순원은 해방기와 6·26 전쟁 중에 월남하여 남한에서 문학 활동을 벌였고, 함세덕은 해방 후 월북하여 활동하다가 6·25 전쟁 때 사망했으며, 전라북도 고창 출신인 임순득은 해방 후 평양에 정착하여 창작 활동을 벌였다. 남한 지역에서 태어난 곽종원, 박목월, 서정주는 6·25 때 피난의 고초를 겪기는 했지만 남한 문단에서 문학 활동을 전개했다. 전쟁 이후 남한에서 활동한 문인들은 모두 문학 창작의 주도적 역할을 했고, 후진에게도 강력한 영향력을 행사했다. 서정주와 박목월은 각기 다른 방향에서 한국시의 중심부에 자리 잡아 독자적인 세계를 보여주었다. 황순원은 탁월한 예술정신으로 70세 이후까지 수준 높은 작품을 발표하여 해방 후 소설가의 전범이 되었다. 임옥인은 자신의 자전적 체험을 바탕으로 여성의 기구한 삶을 여성적 감각으로 표현했다. 강소천은 해방 후 황무지나 다름없던 아동문학계에 동심의 천진성을 형상화한 동화를 집중적으로 창작하여 아동문학의 위상을 높였다. 함세덕은 일제강점기에 당시로서는 보기 드문 세련된 극작술과 언어 구사력을 보여준 작품을 발표하여 희곡사의 중요한 성과를 남겼다. 임순득은 여성의 입장에서 인간의 사회적 현실을 묘파하는 소설이 나오기를 기대하는 여성주의 시각의 평론을 발표했고, 곽종원은 예술성과 인간성이 조화를 이룬 계몽적 문학관을 자신의 입지로 삼았다. 이들 중 서정주, 박목월, 황순원, 임옥인, 강소천 등은 해방 이전의 문학 유산을 계승하여 새로운 문학을 창조하고, 해방 이전 문학의 한계를 극복하여 전향적 변환을 모색한 문학인으로 내세울 수 있다. 이들은 그들의 강력한 영향력에도 불구하고 이미 후속 세대 문학인들에게 극복의 대상이 되어 왔다. 극복과 창조가 문학사의 과정이기에 이것은 지극히 바람직한 일이다. 극복의 대상이 되는 것을 자랑스럽게 여기는 자세가 우리 문학의 전통이 되어야 할 것이다. There are several litterateurs who were born in 1915 during the period of Japanese colonialism. They have started their literary works in their twenties, and made great achievements in the history of Korean literature by developing their writing activities; such litterateurs include So-cheon Gang, Jong-won Kwak, Mok-wol Park, Jeong-ju Seo, Sun-deuk Im, Ok-in Im, Se-deok Ham, and Sun-won Hwang. These writers have experienced many hardships and bitter times due to historical events such as the Korean War. To sum up, the turmoils created by losing sovereignty, liberation, war, division of territory, and reconstruction all have contributed in making these writers who they are, a great litterateurs of Korea. The writers also became a cultural epitome in the reorganization of nation after the north and south division of territory and ensuing wars. So-cheon Gang, Ok-in Im, and Sun-won Hwang engaged in their literature activities after defecting from North to South Korea during the Korean War; Se-deok Ham who defected to North Korea after the liberation, and worked as a writer, finally died during the Korean War; and Sun-deuk Im, who was born in Gochang, South Korea began her creative activities in Pyungyang, North Korea after the liberation. Jong-won Kwak, Mok-wol Park, and Jeong-ju Seo all born in South Korea developed their writing skills in South Korea, although they have experienced hard times during the Korean War. After the war, all of those writers in South Korea played a leading role in literary creation and greatly influenced the younger generation. Jeong-ju Seo and Mok-wol Park at the center of Korean poetry circle, showed their own world of literature through a very different light. Sun-won Hwang, with this outstanding spirit of art, published his sophisticated works even long after he turned 70 and his work is considered as a post-liberation literature classics. Ok-in Im, based on her own autobiographical experience, expressed women’s hapless fate through her feminine esthesia. After the liberation, the field of children’s literature was like a wasteland, but So-sheon Gang enhanced the status of this field by focusing on creating fairy tales filled with the innocence of childhood. During the Japanese occupation, Se-deok Ham published his work of extraordinary refined dramaturgy and marked a great achievement in the history of Korean plays. Based on her feminine esthesia, Sun-deuk Im released a critique revealing social reality from a woman’s point of view, and Jong-won Kwak based his enlightening view on the literary in harmony with artistry and humanity. Among them, Jeong-ju Seo, Mok-wol Park, Sun-won Hwang, Ok-in Im, and So-cheon Gang created new literature with literary inheritance from the era before the liberation and they are regarded as the writers who overcame the limitation of the literature before the liberation and sought prospective changes. In spite of their powerful influence, they have become objects of criticism for the younger generation writers. Conquests and creativity are indeed a part of the progression in Korea’s literary history, which is desirable. Hence, our literary pride and tradition should be based on overcoming numerous hardships.

육당의 문학관과 시조

이숭원 ( Soong Won Lee ) 한국어교육학회 1982 국어교육 Vol.- No.42

백석의 시와 거주 공간의 관련 양상

이숭원(Lee Soong-Won) 한국시학회 2003 한국시학연구 Vol.- No.9

This thesis aimed to look into the transfiguration of Paek Seuk's change in residential environment into poetry. Paek Seuk published his anthology "Deer" during his stay in Seoul after his return from Tokyo. Thereafter, he left Seoul to live in Hamheung from April 1936 to December 1938 and came back to Seoul to stay in January December 1940 before settling in the Manchurian area since January 1940. His published works during these periods show some considerable differences depending on his residential environments. The works he produced during his stay in Hamheung describe the living environments in the Hamkyung do province in terms of the aesthetics of sensibility that is inherent to Paek Seuk. He attempted to depict living customs and their flashes of consciousness by employing his rich sensibility. He was interested not only in customs but also in Hamkyung do Province's historical truth. Moreover, the estrangement between a narrator and the public as well as his air of adverse demeanor to the society are intensified in the poems during this period. One of his works during this period, 〈Sansook〉 A Night on The Mountain, differs from the other poems because it pursues soul searching. Realizing the expansion of the soul leads to the transfiguration of consciousness. Note how Paek Seuk's consciousness was transfigured from individual expansion into a certain degree of communal horizon. Likewise, his pursuit of expansion of the soul, i.e., inside the surface of life, was being expanded. He wrote no more than a few works during his stay in Seoul when he came back to work for the Chosun Daily Newspaper. One common feature of these poems is that they harbor a longing for folklore in a hometown, which is interpreted as Kyungsung's (formerly Seoul) resistance to modernization during the colonial reign. Therefore, the longing depicted in these works shows morbid intensity. Paek Seuk's pursuit of ethnic identity as reflected in these poems carries significance in the course of soul searching under the environmental pressure of the time, showing the transition of his consciousness settling into historical conviction. The realization of such conviction made him sick of the suffocating domestic situations, thereby probably prompting him to defect to Manchuria. His poems during the post Manchurian era consistently deal with the inner world of human beings and seem to be struggling pointedly to overcome the tragedy of the environment in the realm of soul searching. On the other hand, his other work deals with the extreme feeling of loss caused by the devastation of the life of human beings, the society that enabled life, and the span of nature. The others tackle the comfort of inner resources with the pastoral background of resuscitation. As such, his poems during this period alternate between frustration in reality and longing in his inner world.

작품 읽기 방법의 재검토 (1) : 정지용 시 「유리창(琉璃窓)」 읽기의 반성

이숭원 ( Soong Won Lee ) 한국문학교육학회 2005 문학교육학 Vol.16 No.-

The poem A Glass Window by Ji-Yong Chung printed on a Korean literature textbook implies that the poet wrote this poem after losing his son. Therefore, it is inevitable to consider that this poem is somehow related to his son`s death. Considering the historical facts about the poet and the context the poem reveals, it is believed that his second son died from pneumonia in the winter of 1929. A Glass Window is a poem in which the poet expressed his pain and deep sorrow. It is difficult to agree upon the interpretation, which sees that the meaning of the line what rather icy glass window, this sad thing, shimmers is the steam of breath of the poet. The reason why thingsoutside the glass window look obscure and vague is because of frost. The meaning of this part is rather simple : he sees something shimmering outside the glass window, but it cannot be clearly seen because of the layer of frost covering the window. Suddenly, it occurs to him that it may be the child he lost, and he melts the frost with the steam of his breath and the thing outside the glass window flutters its wings as if it knows him well. He melts the frost again trying to see outside the glass window more clearly. However, the biting cold forms another layer of frost that fills the window, and he repeats wiping it off again and again. The only thing he sees, however, is the darkness of the night and a glimmering star in the sky. Saying water-soaked star means that the star is not just dimmed with water, but seems absorbed water by itself, appearing to the poet`s eye as something opaque. The starlight, in other words, the appearance of his lost child, is studded on the glass window and finally penetratesthe window to lodge in the heart of the father. Considering that the title of this poem is A Glass Windowand that the poetic imagery unfolds from its beginning to end with the glass window as its mediator, we need to pay careful attention to the sensuous symbolism of the glass window. Abashed means awkward and shy or timid or weak-kneed. The act of standing close to a glass window on a winter night and peeking outside by melting the frost of the window with the steam of breath is something only a child would do, and it may be awkward and timid for an adult to do such an act. However, the charm of this poem lies in the fact that knowing such an act is something awkward and abashed, and despite of that he still could not leave the glass window ; in fact, he finds himself compelled to repeat the act. Understanding the background or the underlying emotion of such an act is the most important point to appreciate this beautiful poem.

서정주 시에 나타난 ‘바다’의 의미 변화

이숭원(Lee Soong-won) 한국시학회 2010 한국시학연구 Vol.- No.29

백석 시에 나타난 자아와 대상의 관계

이숭원(Lee Soong-Won) 한국시학회 2007 한국시학연구 Vol.- No.19

In recent several years, there have been several theses that attempted to describe the unique characteristics of poetry of Baek Seok in the concept of modernity. However, when we read the poems of Baek Seok without any pre-conception, we should be able to discover that the view of the poet is on the substantially different world from our thoughts as in ‘modernity’. The ‘modernity’ that Baek Seok tried so hard to ‘turn away’ has shown the irony to emerge as the basis to evaluate the Baek Seok poetry in this research. Baek Seok turned away from the flow of the modernity and restored the local world experienced in the younger days in poetry. Within the realistic word of the current time living as an adult, the subjects on the outside of modernity are found and expressed in poetry. By reviewing the relationship of poetic self and subject shown in the poetry of Baek Seok, it seeks to find the change of poetic perception and striving point. In the collection of poem for Baek Seok, Deer, there are many poems set the time of childhood. In the event of child speaker, frequent exposure for ‘I’, the lyrical self, is shown with characteristics. When the poetry listed on Deer is divided into two types for contents, it would represents in product group presented for the image of the scenes or situation through the temperament to represent the local world through the reminiscing the younger days. The earlier work is applicable to the narration and the later work is applicable to the scenery shape. The applicable product for the narration exposes the poetic self, ‘I’, without exception, and as the sentiment gets stronger, it is presented to the front side for even clearer painting quality. The poetic self, ‘I’, mostly shows the speaker of the child speaker. These two tendencies show up in the works after the poetry collection, but the child speaker was turned to the adult speaker. As showing clearly of his own thinking at the point of adult, the sentimental self-ego, ‘I’, could not frequently and clearly show its appearance. And, there is a change in the attitude in handling of target by the poetic self. The self-ego of the poetry collection in Deer displayed the target but there was not much of critique on it. In Palm after the poet collection, my thinking on subject emerges in clear implication in the adult point of time, and as time passed, the thinking has become abstracted. At first, the territory of life for the fragment of causes shown in simple sentimental reaction would be expanded and it has ascended for abstract stage as discovering the people and history. The world that he strives for is the space of isolation, the time of past. His poetry strives for past, far away distance, locality, woman and vulnerable things. The pretended modernity transplanted by the Japanese imperialism strives for future, this place, civilization, man, and strength. He had his own aesthetics in the reverse direction of the modern striving that the colonial system plans. However, it is very awkward to define as the intentional strategy for the realization of modernity. Baek Seok has been attempting to show the scenes that seem poor and earthly under the view of modern civilization while displaying the sentiment of local community that has been disappearing under the waves of the modern time. At the time of expanding the material instrumentality, it realizes the ‘aesthetics of alienation’ to convert the isolation into the blessing. This is the independent aesthetics that he established.

최찬식의 「 추월색 」 고

이숭원 ( Soong Won Lee ) 한국어교육학회 1981 국어교육 Vol.- No.39

일제강점기 조영출(조명암) 시문학의 위상

이숭원(Soong won Lee) 서울여자대학교 인문과학연구소 2014 인문논총 Vol.28 No.-

조영출은 1932년부터 여러 신문과 잡지에 시를 투고하여 좋은 반응을 받았다. 특히 1933년에 여러 편의 작품을 『조선일보』에 투고한 것이 김기림의 눈에 띄어 긍정적인 평가를 받음으로써 창작 의욕이 더욱 고양되었다. 김기림이 조영출의 시에서 긍정적으로 평가한 것이 “주지적 색채”와 “주지적 정신”이었기 때문에 그의 창작은 이런 경향을 심화하는 방향으로 전개되었다. 이러한 자유시 발표와 함께 그는 대중가요 가사 창작에도 관심을 보였는데, 문제는 대중가요 가사를 쓰게 되면서 그의 자유 시도 가사 형태로 전환되기 시작한다는 점이다. 시간이 지날수록 그의 시에서 참신한 주지적 색채는 점점 줄어들고 감상적 요소가 늘어나고 직선적인 감정 토로의 어법이 드러나게 된다. 1935년을 지나면서 자유시 창작은 현저히 줄어들고 1938년 이후에는 대중가요 가사 창작에 전념하게 된다. 대중가요 가사를 쓸 때에는 주로 조명암이라는 예명을 사용했다. 조명암은 대중가요 가사 창작 분야에서 남이 따라갈 수 없는 독보적인 자리를 개척했다. 김기림이 칭찬했던 “도시 시인으로서의 주지적 색채”와 “남달리 빛나는 위트”를 적극 활용하여 도시 대중의 감성을 자극하는 데 성공했다. 특히 간단하면서도 창의적인 감성적 제목은 대중들의 마음을 휘어잡았다. 그러한 제목과 어울린 노래의 가사 역시 1 절, 2절, 3절로 갈수록 더욱 애절한 느낌을 주도록 구성하여 대중들의 심금을 울렸다. 그가 만든 가사는 대중적 매력과 문학적 격조를 동시에 갖추고 있었기 때문에 성공한 것이다. 이러한 매력적인 제목과 문학적인 가사는 당시 대중가요의 수준을 높이는 동시에 아픔과 슬픔에 시달리는 대중들의 마음을 달래고 순화하는 역할도 했다. Jo Yeong-chul received favorable responses by submitting his poems to various newspapers and magazines after 1932. In particular, his submission of several works to “The Chosun Daily” in 1933 attracted the eyes of Kim Gi-rim. In this way, he was given a positive evaluation, which further enhanced his will to create works. Since it was “intellectual color” and “intellectual mentality" that Kim Gi-rim evaluated positively in Jo Yeong-chul's poems, his creation was developed in the direction of intensifying such a tendency. Along with the announcement of such free verses, he also showed interest in the creation of lyrics for popular music. The problem is that as he began to write the lyrics of popular music, his free verses began to be transformed into the form of lyrics. Along with the passage of time, the novel intellectual color in his poems diminished gradually while emotional factors increased and language that revealed outspoken emotions appeared. Passing 1935, the creation of free verses was reduced significantly, and he was fully focused on creating the lyrics of popular music. When he wrote the lyrics of popular music, he mainly used the stage name Jo Myeong-am. Jo Myeong-am achieved an unrivaled position that could not be achieved by others in the creation of the lyrics of popular music. He succeeded in stimulating the sensibility of the urban public by utilizing actively the “intellectual color as an urban poet” and “exceptionally brilliant wit” that were praised by Kim Gi-rim. In particular, simple yet creative emotional titles fascinated the heart of the general public. Also the lyrics of the songs, which matched such titles, were composed to give more plaintive feelings as the verses progressed. This touched the heart of the general public. The lyrics created by him were successful because they had popular attraction and literary nobility at the same time. Such attractive titles and literary lyrics raised the level of popular music at that time. Also, they played a role in soothing and purifying the heart of the general public, who were suffering from pain and sorrow.