이지엽 시조 연구

권성훈(Kwon, Sung-Hun) 우리문학회 2016 우리文學硏究 Vol.0 No.49

이글은 한국현대시문학사에서 비교적 변방에 있는, 시조시인 연구로서 시대적 흐름의 관점에서 1980년대 이후 ‘현대시조의 개성화 시대’의 중심인물 이지엽(1958~)의 시조 세계를 논의하였다. 이지엽은 1979년 시조집 『아리사의 눈물』을 출간하여 등단한 이래, 1982년『한국문학』백만원 고료 시부분 신인상과 1984년 『경향신문』 신춘문예 시조가 당선되었고, 다수의 작품집을 출간하였고, 주요 시조 문학상 등을 수상하였다. 현대시조단의 문학적 성취를 보이며 문학계와 학계에 많은 영향을 미친 이지엽은 시조시인이자, 연구자로서 지속적인 창작과 시조 연구의 중심테마가 되어온 ‘토속어의 수용과 에코페미니즘’(사설시조) ‘비정형성의 구현과 기하학적 상상력’(비정형시조) ‘단시조의 개신과 단형 극서정성’(단시조) 등으로 세분화하여 그의 시세계를 구명함으로써 ‘현대시조의 개성화시대’(1980~2000년대)의 견고한 ‘미학적 동선’과 ‘시조사의 일축’을 확인할 수 있다. ‘토속어의 수용과 에코페미니즘’에서는 사설시조에 사실적 이야기를 거느리고 구체적 토속어를 접목시켜 자신만의 독특만 시어로 희화하고, 보편적인 의미 공간을 창출하면서 사회적, 생물학적인 ‘여성성의 한계’를 극복하여 ‘대지의 여성성’이라는 에코페미니즘의 시론을 구현하고 있다. ‘비정형성의 구현과 기하학적 상상력’에서는 시조정형을 감각적인 비정형성의 미의식으로 구현하면서 기하학적 상상력을 통해 탑재하여 직선적 불완전한 존재 속에 함이 된 곡선적 세계를 깨달아가는 의미의 차원으로 천착되어 진다. ‘단시조의 개신과 단형 극서정성’에서는 현대성에 부합하게 단시조를 개신하여 비정형적 단시조 안에서 형식미학을 찾아 ‘압축과 절제라’는 구도위에서 비정형적 구성과 의미의 배치를 통해 ‘일탈과 확장’을 주면서 서정을 극대화하는 바, ‘단형극서정성’이라는 새로운 권역을 구축하고 있다. This article discusses the poetic world of Lee Jee-yeub (1958-), a representative of the Korean poetry group, considered a “model of Korean modern poetry,” from the perspective of the eras in the history of Korea modern poetry. Lee Jee-yeub published the Korean poetic collection “Tears of Arisa (1979),” and afterwards, he received an award in the novice section in “Korean Literature,” winning one million won (1982). He also won the annual spring literacy contest in the Korean poetry section from the “Trend Newspaper”(1984), left a large number of anthologies, and was awarded a prize. He especially engaged in vigorous activities as a creator, founder, and researcher (university professor) in the area of Korean Poetry. Additionally, he published “open poetic”(1996), a work on overall literacy regarding poetry, particularly Korean poetry, and “Korean poem poetic”(2000), a work on Korea poetry-specific literacy regularly, which has never failed to have a positive influence on novice poets and researchers in the field of poetry. He also shared his ideas with them, which makes him unique in the modern Korean poetry group. In this context, it is easy to consider that people identify with Lee Jee-yeub in Korea’s modern poetry history. Additionally, this study serves to identify active poets in each period. These include the “modern Korean poetry beginning period”(1910), “modern Korean poetry exploitation period”(1920-1940), “modern Korean poetry form stable period”(1950-), “modern Korean poetry identity secure period”(1960-1970), and “modern Korean poetry individualization period”(1980-2000’s). The poets include Lee Byung-gi (1891-1968), Lee Tae-geuk (1913-2003), Kim Je-hyeon (1939-), Lee Jee-yeub (1958-) and others in this order in units of 20 years. Thus, Lee Jee-yeub had significant accomplishments in the modern Korean poetry group’s political and academic aspects, and exercised significant influence in literacy and academia;he departmentalized Korean poetry, focusing on continuous creation and research as a poet and researcher in the field of Korean poetry. His classification of Korean poetry is as follows: “acceptance of local language and eco-feminism”(editorial Korean poetry), “realization of informality and geometric imagination”(informal Korean poetry), “reformation of short Korean poetry and short-string extreme lyricism”(short Korean poetry), and soon. Hence, he could deepen his Korean poetry theory and therefore confirmed stable “aesthetic circulation” and “refusal of Korean poetry history” in the “modern Korean poetry individualization period” (1980-2000’s).

한국 현대시사 연구의 문제점과 전망

조창환(Cho Chang-Whan) 한국시학회 2007 한국시학연구 Vol.- No.19

Early studies of the history of modern Korean poetry mainly adopted bibliographical critical methodolgy, as in The History of Modern Korean Literature by Cho, Yeon-hyun and The History of Modern Korean Poetry, by Chung, Han-mo, which took initiative of the studies. Later, many parts of the former were corrected and amended by scholars who ranged more extensive literary materials, while the latter criticized that the former neglected the background of poetry, literary activities and the evaluation of poetic works. The most outstanding studies of history of modern Korean poetry, The History of Modern Korean Poetry and The History of Contemporary Korean Poetry by Kim, Yong-jik, made use of literary historicism. The author concerned the social background of poetry, evaluated literary activities and their social effects and roles, and arranged major poets and their literary works in his literary history. But he confused history of literature and history of thoughts since he overemphasized on the social background of literary works and writers' thoughts. The major points of arguments in description of history of poetry in modern Korean literature are theory of cultural transplantation, theory of cultural traditionalism, the starting point of modern poetry, and the conception of modernity in Korean poetry. The modern Korean poetry seems to have two sharply contrasting perspectives from its beginning, which are manifested in the interpretation of modern Korean history of poetry. But they are only the matter of standing point of the scholars and can be compromised by more comprehensive viewpoint. The most reasonable starting-point of modern poetry is the Enlightenment Period, and the most appropriate conception of modernism in Korean poetry is the literary movement of Imagism and Surrealism in 1930s, though their modernity was distorted and transformed and different from that of the European and American literature.

전환기 한국 현대시의 시 세계

윤여탁(Yoon Yeo-Tak) 한국시학회 2009 한국시학연구 Vol.- No.25

This study focused on aspects of development of Korean modern poetry, from the liberation of Korea in 1945 to the 1950s, and its world. during this period, Korean modern poetry illustrated various poetic seeks and glimpses. These researches became a foundation of Korean modern poetry’s literary growth. Above all, the literary conflict between the left and right was appeared immediately after the liberation of Korea, and this conflict developed itself as ‘ideological realization in literature’. Additionally, Korean modern poetry’s a wide variety of attempts after Korean War were sufficient to prepare subsequent growth and revival of Korean modern poetry. Specifically, a variety of poetry - realism poem, lyric poem, modernism poem and poem about war - was created and developed into later Korean modern poetry. Various creation of modern poetry on this period was able to be a solid ground of reconsideration about a current tendency of modern poetry’s research and education which is mainly focused on the modern poetry centered on 1930s and contemporary poetry centered on 1960. Through this study, this period’s creation of modern poetry had not only enough affluence to exceed poetical and literary realization produced before and after this period, but also enough capacity to be a role of bridge between these two before and after periods. Therefore, this aspect should be accepted into the study and education of modern poetry, and this new point of angle is another reason why this period’s poetical accomplishment have to be reconsidered.

특집 : 국어국문학 연구와 함께한 반교어문학회 30년 ; 한국 현대시 연구의 성과와 전망 -"운명"과 "혁명", 왜, 아직도 "임화"와 "김수영"인가?

박지영 ( Ji Young Park ) 반교어문학회 2012 泮橋語文硏究 Vol.0 No.32

본 연구는 90년대 이후 최근까지 진행된 한국현대시 연구의 성과와 한계에 대해 개괄하고, 이를 극복하기 위한 방도를, 현재의 임화와 김수영시 연구를 통해서 제시하려고 했다. 현재 임화와 김수영 연구는 현대시연구가 지향해야 할 콘텍스트 연구와 결합된 정신사 연구의 한 지평을 열어갈 주요 연구대상이라는 점 때문이다. 그 예로 전향(문학)사라는 한국 현대(문학)사 맥락에서 바라본 이 두 혁명 시인의 전향 연구를 제시했다. 현재 한국현대시 연구는 근대(탈근대)성 연구의 패러다임 안에서 진행되어 왔으나, 최근의 한국현대문학 연구의 주요 동향인 매체 연구 등 실증적 컨텍스트 연구에서는 다소 거리를 두고 진행되어 왔다. 그러면서 친일시 연구, 번역 연구, 언어 연구 등에서 성과를 거두기도 했지만, 시문학사연구로서 새로운 연구방법론을 개척하지 못하고, 타장르의 연구 방법론을 수렴하는 방식으로만 진행되기도 했다. 이러한 점은 여전히 보편적으로 한국현대시 연구가 직관에 의존하는, 텍스트와 작가 연구에 집중하고 있었기 때문에 발행한 일이다. 그리하여 한국현대시 연구는 향후 텍스트/콘텍스트에 관한 실증성을 갖추어가면서, 시정신사 연구로 지향해야 할것이다. 이것은 향후 한국학 연구의 한 방향이 될 것이기도 하다. This study aims to summarize the achievements and limitations of the researches on Korean Modern poetry that have been conducted up to recent times from the 1990s. To overcome such limitations, this study tries to present new Korean Modern poetry research methods through the current researches on Im Hwa`s and Kim Sooyoung`s poetry. These two poets are chosen because they are the primary research subjects who can open new prospects in the field of spiritual history combined with context research, which should be pursued by Korean Modern poetry. To illustrate, the research on these two revolutionary poets` conversion has been conducted in the context of conversion literature history in the history of Korean Modern literature. Contemporary Korean poetry research has been carried out within the paradigm of modernity (post-modernity) research, but it has shunned the empirical studies of context, such as media research, a major research tendency of Korean Modern literature. Although the researches on Japanese Proletariat poetry, translation, and language have some achievements, the research on Korean Modern poetry fails to pioneer a new methodology in the field of poetic literary history, thus simply accepting the methodologies of other genres. Such problem is partially caused by the fact that the research on Korean Modern poetry still focuses on the theories of literary works and writers. Therefore, the future research on Korean Modern poetry should be a research on spiritual poetic history and should be coupled with the empirical analysis of text and context. This will also be among the major themes of future Korean studies.

한국현대시와 불교적 사유

여태천(Yeo Tae-chon) 한국비평문학회 2008 批評文學 Vol.- No.28

The purpose of this article is to confirm the actual meaning of buddhistic thought in korean modern poetry. In other words, this article is that the study for knowing the relationship korean modern poetry and buddhistic thought. Many poems are meaningfully presenting incorporated with buddhistic thought from poetic experience and concreted sense in korean modern poetry. Modern poetry has an object to embody of thought and exalt of the emotion for the valuable life. Buddhistic thought does to look back essence of life in the human being and to ask an origin objective of modern poetry. From like that meaning, modern poetry and buddhistic thought are complementary. So to speak, poetic intuition has some analogy with illogical verbal of buddhism, and poetic imagination has some analogy with buddhistic outlook, and poetic experienceand buddhistic has some analogy with ontology. Modern poetry are the outcomes of dynamic process from buddhistic thought. Buddhistic thought as the source of modern poetry play an important role to complete works, at the same time it has a meaning if it lifts value of works. Buddhistic thought which is frequently found in modern poetry is very meaningful. Because it shows an aspect of poet to struggle for overcoming the extreme conditions of 'now, here' which is worsen by alienation and uneasiness. In conclusion, we take an important interpretation for specific quality of korean culture from budd his tic thought which was found in modern poetry.

한국 현대시 연구의 동향과 과제 -최근 50년간 한국언어문학 수록 현대시 분야 논문 분석-

남기혁 한국언어문학회 2013 한국언어문학 Vol.85 No.-

This essay aims to examine the history of interpretation of Koran modern poetry appeared in the Journal, Korean Language and Literature which the Korean Language and Literature Society has published for 50 years. This Journal contains 204 articles on Korean modern poetry. The main purpose of this essay is to overview them, and to survey the trend and urgent problems in the studies of Korean modern poetry. First, this essay analyzed general research trends in the sphere of Korean modern poetry by database working. On this base, the various objects of study and the research methodologies are categorized. Second, the meaningful research achievements in each category was introduced. In this process, the main question at issue was suggested about the studies of Korean modern poetry, especially connected with the changes in Korean modern poetry and its educational circumstance. Last, several proposals about the future Korean poetry research were made:“diversification of objects of study”,“more challenging research viewpoint”and “the sharing of critical mind about public reader's reception of modernpoetry”.

중ㆍ한 현대시에 나타난 서정성 비교 고찰

양혜경(Yang Hae-kyung) 한국비평문학회 2008 批評文學 Vol.- No.30

It is hard to find out lyricism of Korean and Chinese modern poetry. Because lyricism of Korean and Chinese modern poetry has associated to the relationship between poetry and society, the status and meanings of poetry in modem society, and the problems of modernity. Also, these problems are related to each other. The sociality and autonomy of modern poetry, and the social status and function of poetry inspire aesthetic value of literary essence related to contemporary social systems. The lyricism of modem poetry gives autonomy and identity of Korean and Chinese modem poetry. Therefore, the lyricism of Korean and Chinese modern poetry has a close relationship with the change of society. This article studied the aspects of lyricism of Korean and Chinese modern poetry based on Korean and Chinese best-seller poems. This study compared lyricism of Ahn Do Hyun as a Korean poet and Fang Wen Shan as a Chinese poet. This study examined how lyricism was expressed in terms of literary characteristics. The reappearance of lyricism and aspect of subject were also examined. Ahn Do Hyun and Fang Wen Shan had no direct relationship, but they had their authentic world of poetry in search of lyricism Their poems represented lyricims based on contemporary social reality in traditional lyric genre.

개화기 미주 한인시의 근대성 연구

이형권 ( Lee Hyeongkwon ) 국제비교한국학회 2016 비교한국학 Comparative Korean Studies Vol.24 No.3

이 논문은 개화기(근대 초기) 미주 한인시의 장르적 특성과 주제의식을 고찰한 것이다. 당시 시의 장르적 특성은 과도기적인 모습을 보여준다. 음수율은 우선 3·4혹은 4·4조를 기반으로 하여 6·5조, 7·5조, 8·5조 등을 보여준다. 음보율은 2음보를 기본으로 하여 3음보나 4음보 등으로 다양하게 드러낸다. 음수율이나 음보율의 불규칙성으로 인해 자유율에 근접한 시들도 적지 않다. 그러나 아직 본격적인 자유시에는 이르지 못했다. 일부 시에서 자유율을 보여주긴 하지만, 아직 개인적 내면 세계라는 근대적 내용으로까지 나가지는 못했기 때문이다. 이런 점은 국내의 경우와 크게 다르지 않지만, 국내(1914)보다 일찍 자유율을 지향(1911)했다는 특성을 보여준다. 시의 내용은 국내 근대 초기의 시가 보여주는 주제 의식과 유사하다. 그러나 미주 한인시만의 독특한 특성이 드러나는 시들이 다양하게 편재한다. 첫째, 미국 문명과 개화사상을 주제로 한 시들이다. 이들은 국내의 시들과 비슷하지만 일본이 아닌 미국의 문명을 이상으로 설정했다는 점에서 다르다. 둘째, 애국애족과 독립사상을 주제로 한 시들이다. 이들 역시 국내의 시들과 대동소이하지만, 일제에 대한 저항 의지가 더 강고하다는 특성을 보여준다. 셋째, 디아스포라 의식과 자연서정을 주제로 하고 있는 시들이다. 이들은 미국이라는 먼 이국땅을 기반으로 하고 있다는 점에서 국내의 시들과 다르다. 자연서정을 담고 있는 시들도 국내에서보다는 비중이 높은 편이다. 작자계층을 보면, 전문 시인은 물론이고 일정기간 지속적으로 활동한 아마추어 시인도 거의 없다. 이름 표기에서는 작자 미상의 작품, 아호나 별칭을 주로 사용했다. 시의 언어는 국문을 주로 사용했지만, 한자를 사용하는 시들도 있었고, 영어 발음을 그대로 한글로 표기하여 사용하는 어색한 경우도 간혹 있었다. 그러나 전반적으로 한글시가 지배적이었다는 사실과 함께 주목할 만하다. 요컨대 근대 초기 미주 지역의 한인시는 한국문학사의 소중한 자료이다. 많은 교포들이 창작에 동참하여 민족적, 문학적 공동체 의식을 형성하는 데 중요한 역할을 했기 때문이다. This paper aims to examine the generic characteristics and subject consciousness of Korean Americans` poetry during the early modern period. The characteristics of the genre at the time shows the transitional aspect. First, syllabic meter show 6-5, 7-5, 8-5 based on 3-4 and 4-4 rhythm. Foot meter shows various meters such as 3 and 4 meter based on 2 meter. There are number of poetry that are close to the free verse due to the irregularity of syllabic meter and foot meter. However, the poetry has not yet reached genuine free verse. Some poetry shows the free verse in the rhythm, but it has not yet contain modern content called personal inner world. These facts are not very different from the case of Korea, but shows the characteristic that Korean American in USA pursues free verse (1911) earlier than Korea (1914). Content of Korean American poetry is similar to the subject consciousness that the early modern poetry shows in Korea. However it also retains Korean American`s own characteristics. First, it is the poetry themed American civilization and the enlightenment ideas. The subjects of the poetry are similar to Korean poetry, but they are different because they set up American civilization as their ideal, not Japanese. Second, it is the poetry themed devotion to their country and people and independent thought. Theming the subjects is substantially the same with Korean poetry, but there is more strong will to resist the Japanese. Third, it is the poetry themed the consciousness of the Diaspora and emotions of nature. The poetry is based on foreign land, and also contains more natural emotions than domestic poetry. Considering class of writers, there is no professional poet and no amateur poet who writes continuously write in certain period. The name was marked anonymously or using pseudonym and alias. The language of the poetry was Korean, but there was also chinese. Moreover, there was awkward poetry that marked the pronunciation of English in Hangul. Overall, the fact that poetry written in Hangul was predominated is worthy to notice. In short, the early modern Korean American poetry in America is a valuable resource of history of Korean literature because many Korean Americans have played role to create and form the ethnic and cultural sense of community by participating on writing.

『청춘』 소재 국문시와 한시의 역할 고찰

정기인 ( Ki-in Chong ),채송화 ( Chae Song-hwa ) 근역한문학회 2018 한문학논집(漢文學論集) Vol.51 No.-

근대 국문시와 근대 한시는 별개의 장르로 각각 연구되고 있다. 이러한 연구 풍토는 그 상호작용을 전혀 시야에 넣을 수 없었고, 국문시가 한시를 의식하면서 창작되었던 기초적인 사실관계조차도 포착할 수 없게 되었다. 분명 근대시 형성기, 또는 식민지 시기에 국문시와 한시가 동시에 활발히 쓰이고 있었다. 하지만 한반도의 ‘근대시’가 국문시와 한시라는 두 장르가 두 가지 언어로 서로를 의식하면서 창작되었던 사실은 여전히 배제되고 있다. 근대시를 제대로 이해하기 위해서는 동시대에 향유되었던 국문시(신시, 창가, 시조, 언문풍월)와 더불어 한시까지 함께 살펴야 한다. 이러한 당대에 현존하는 두 장르로서의 국문시와 한시의 역할과 그 의미를 살펴보기 위해 이 글이 구체적으로 분석할 것은 근대 초기 특권적인 위상을 지니는 최남선의 『靑春』이다. 『청춘』의 현실 비판적인 목소리는 한시와 언문풍월을 통해서 표출되고 있었고, 계몽은 신시와 창가를 통해서 수행되었다. 각 주제나 형식에 꼭 들어맞는 장르를 선택하여 작품을 통해서 하고 싶은 이야기를 가장 효율적으로 전달했다. 누구나 따라 할 수 있는 조선어로 된 창가로 계몽을 하고, 함축적인 한시로 현실을 비판하는 것, 이 둘을 동시에 바라보아야 당대 ‘근대시’의 면모뿐만 아니라 근대 그 자체를 온전히 파악할 수 있다. Modern Korean poetry and modern Classical Chinese poetry are studied as separate genres respectively. Such research could not illuminate two poetry’s interaction into perspective, nor could it capture even the basic facts that the Korean poetry was conscious of Classical Chinese poetry. Clearly, during the formation of the modern poetry, or in the colonial period, Korean poetry and Classical Chinese poetry were actively used at the same time. The "modern poetry" on the Korean peninsula was created in two languages, Korean poetry and Classical Chinese poetry, and the fact that they were being created in consciousness of each other is still not researched. In order to understand the modern poetry properly, it is necessary to study together with the Korean poetry poems (Shinshi(新詩), ch'angga(唱歌), shijo(時調), onmunp'ungwol(諺文風 月)) which were created and read at the same time. In order to examine the roles and meanings of Korean poetry and Classical Chinese poetry as two existing genres of those days, we chose Ch'oe Namson's Ch'ongch'un(靑春) which has a privileged status in the early modern period. The realistic critical voice of Ch'ongch'un was expressed through Classical Chinese poetry and onmunp'ungwol, and enlightenment was carried out through Shinshi and ch'angga. Ch'ongch'un chose the genre that was right for each topic or format and delivered the stories most efficiently. It is necessary to look at both Korean poetry and Classical Chinese poetry at the same time to grasp not only the aspect of the contemporary "poetry" but also the modern itself.

1930년대 정인보, 김소월의 전통 한시 국역(國譯) 연구

정소연 ( Chung So-yeon ) 한국문학교육학회 2017 문학교육학 Vol.0 No.54

본고는 20세기 초에 하나의 문학사적 현상으로 나타난 시인들의 외국시 번역, 그 중에서도 전통 한시의 국역(國譯)에 주목하고, 1930년대 한시를 국역한 시인들 중에 정인보와 김소월을 중심으로 그 양상과 의미를 탐색한 것이다. 정인보가 국역한 한시는 3수에 불과하지만, 고가(古歌) 및 여성 화자 위주의 한시를 행 구분 및 4음보 위주의 국역을 통해 문학담당층이 확대되는 새 시대의 변화를 반영하면서도 전통 국어시가의 율격을 지속하고자 한다고 보았다. 전통 시대의 중심 갈래인 한시를 20세기에 누구나 읽을 수 있도록 국역(國譯)하되 국어시가사의 전통적 율격을 계승할 뿐만 아니라, 원시에 없던 일상 구어를 추가함으로써 한`시`의 국역이 오히려 구술성을 획득하는 시가(詩歌)적 지향을 보였다고 하겠다. 김소월은 1930년대에 10수의 한시를 국역하였는데, 모두 중국 당시(唐詩)로서 이별 노래가 압도적으로 많다. 일본이 동아시아 문명권의 주변부인 시대의 시이자 우리의 문화적 자부심을 고취할 수 있는 시대의 시를 국역함으로써 당시 우리 민족 모두의 정서를 대변하고 공감할 수 있는 시를 대상으로 삼았다고 할 수 있다. 이 시기 국역시는 거의 2음보격으로, 한 행이 7음절이거나, 띄어쓰기가 없이 7언절구처럼 보이는 국역시까지 있어서 시각적으로는 시(詩)로서의 정형성을, 낭독으로는 가(歌)로서의 율격을 동시에 추구하는 시가적(詩歌的) 지향을 보여주었다. 또한 원시를 읽은 독자의 반응을 표현한 수용자 중심의 국역을 보여준 점도 주목된다. 본 논의를 통해 정인보와 김소월은 전통시대 시(詩)의 중심이었던 중국 한시를 우리 `국어` `시가(詩歌)`의 전통적 율격으로 바꾸고, 새로운 시대의 문학 주체의 확장과 공감 가능한 보편적 내용으로 국역하여 20세기 한국 현대시를 모색하는 또 하나의 방안으로 삼았음을 알 수 있었다. 그러나 같은 시대 한시를 국역한 세 시인 중 한 사람인 김억의 경우를 함께 살피지 못해 차후 과제로 남긴다. This study examines the Korean language translation of traditional hansi in the 1930s, especially poets Jeong, In-bo and Kim, Sowoel. In the 20th century, Many poets had translated Chinese and Korean traditional hansi into Korean language. In the early 20^th century, it started Korean language as a national public language. At that time, not only hansi but also several languages` poetry had translated into Korean. First, Jeong In-bo translated 3 Chinese ancient songs which contents are about women into Korean poetry with 4 metre each lines. It means that hansi is past representative poetry genre of male poet, but he translated into women centric Korean poetry and songs because in 20th century the subject of literature enlarges into women. Besides 4 metre rhythm is traditional rhythm of Korean poetry andd songs as like Sijo and Gasa genres. So he inherited tradition in 20<sup>th</sup> century for the search Korean new modern poetry. Second, Kim So-woel translated Chinese tradition Hansi, especially Dang dynasty`s poetry of not only famous male poets like Wang Wei, but also unknown poets and female poet, etc. Poet Kim translated into Korean poetry with 2 metre each line, sometimes 7 syllables each line without word spacing like quatrain Chinese hansi genre. It means he aimed for not only songs as a spoken literature like orality and universality but also poetry visually as a written literature. It shows that they thought Korean modern verse literature should be songs as well as poetry. And it shows continuity of literary history that hansi continues in the modern poetry, though the language is Korean.