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윤삼현(Yun, Samhyun) 한국아동문학학회 2011 한국아동문학연구 Vol.- No.20
윤극영은 한국 동요사에 굵직한 발자국을 남긴 동요시인이며 작곡가이다. 그는 식민지 암흑치하에서 태어나 1988년 85세를 일기로 타계하기까지 평생을 아동문화운동과 아름다운 동요 창작에 생애를 바쳤다. 일제하에서는 색동회 창립동인으로 활약하여 어린이들에게 희망을 심어주었고 동요단체 다알리아회를 조직하여 동요보급에 선구자적 역할을 다 했다. 간도에서는 한 때 예술단을 운영하여 활발한 활동을 펼치던 중 일본군정의 압력으로 해산하기도 했다. 해방 후 1946년 귀국하여 동시인 윤석중을 비롯한 여러 동시인들과 호흡을 맞춰 격조높은 동요를 작곡하는 한편 지속적인 동요 동시 창작을 전개하였다. 일제강점기 윤극영의 동요는 1920년대 색동회 동인들이 주도했던 창작동요의 빛깔과 분위기를 그대로 수용하고 있다. 분열과 대립이 없는 순수동심적 원형과 음악적 기질에서 국권상실기 식민지 백성으로 살아가는 일이 구차하고 핍진하였음에도 불구하고 동요를 통해 이를 극복하고 정신적 에너지의 원천으로 삼고자 했던 그의 예술정신을 엿보게 한다. 외부에서 맞딱뜨린 고통과 상처를 내부의 순수동심과 정화작용을 통해 승화시키고자 한 태도를 볼 때 그의 동요창작이 그에게 신앙과도 같은 것이었음을 짐작케 한다. 윤극영 동요세계의 특질은 어린이 생활과 전통적 정서를 리듬감있게 표출하고 있다는 점, 동심의 원형적 원리에 따른 순수동심의식을 맑고 서정적인 언어로 그려내고 있다는 점으로 요약할 수 있다. 일제강점기 여섯 편의 동요들 중 ‘반달’은 예술성과 대중성을 확보한 1920년대 대표격 동요로 평가 받는다. 또한 ‘설날’은 한국 최초의 창작동요로 드러났다. 애상적 어조가 주류를 이루던 당대의 분위기를 탈피하여 동심원형적 시의식을 역동감있게 담아낸 창작태도 그 밑바탕에는 어두운 시대를 살아가는 어린 동심주체들을 겨냥해 밝고 긍정적 아동상을 심어주고자 한 동심사랑 정신이 깔려있다. 그의 여섯 편의 동요는 자연친화적 낭만주의에 입각한 밝고 진취적인 이상성을 반영하고 있다. 이를 바탕으로 하여 우리 고유의 정서를 용해시켜 친밀감을 높임으로써 한국적 동요의 맛과 멋을 자아내는데 성공하고 있다. 그동안 그의 음악적 성과에 비하여 문학적 성과를 조명하는 작업이 참으로 빈약한 감이 있다. 향후 그의 해방 이후의 동요나 동시에 대한 연구도 속속 이루어져 윤극영의 총체적 문학세계가 밝혀져야 할 것이다. Yun Geuk-young was a poet and composer who left his mark greatly on Korean children’s songs. He was born during Japanese colonial period and died at the age of 85 in 1988. Until he died, he devoted all his life in children’s culture drive and creative writing of beautiful children’s songs. Under Japanese colonial period, He did active work as one of Saekdonghoe’s founder members and gave hope to children. Also he formed a organization for children’s songs, Daalriahhoe and was a pioneer in the field of diffusion of children’s songs. When he was in Gando for some time, he operated an art troupe and did active work there. But his art troupe was dispersed by Japanese military government. After Korea was liberated from Japanese colonial rule in 1945, he came back to Korea in 1946. He composed elegant children’s songs with contemporary poets as well Yun Seok-jung and developed continuous creative writing of children’s songs and children’s poems. Yun Geuk-young’s children’s songs during Japanese colonial period actually accepted color and atmosphere of creative children’s songs which Saekdonghoe’s members led in 1920s. He had innocence of childhood’s mind without division and opposition and musical temperament. Even though he had to live pitifully as Japanese colonial people during loss of sovereignty of a nation, he made an effort to overcome it through children’s songs. He made it his mental source of energy. So we can recognize his sprite of art. He tried to elevate his pain and wound which had got outside through innocence of childhood’s mind and purification of mind. I guess that creation of children’s songs was something like religion to him. Characteristics of Yun Geuk-young’s children’s songs are two things. One is that he expressed children’s lives and the traditional emotion together with rhythmic sense. The other is that he expressed innocence of childhood’s consciousness into pure and lyrical language according to the original theory of innocence of childhood. Half moon, one of his six children’s songs which were made during Japanese colonial period established artistry and popularity and it was estimated as the representative children’s song in 1920s. Also ‘Lunar New Year’s Day’ was revealed as the first creative children’s song of Korea. Sorrowful tone was the mainstream of the contemporary atmosphere in those days. But he tried to escape this atmosphere. There was innocence of childhood’s poetic consciousness in his attitude for creation. Under the basis of his attitude, he had the sprite of innocence of childhood’s love to establish bright and positive model towards children, even though Koreans were in the dark times. His six children’s songs reflected bright and progressive ideal which was based on nature-friendly romanticism. Being based on it, he melted it into traditional emotion and enhanced the sense of closeness. He succeeded in creating in Korean children’s song’s feeling and emotion. Compared to his musical achievement, his literary achievement has been estimated very poorly. From now on, his works about children’s songs and children’s poems should be progressed and Yun Geuk-young’s whole world of literature should be revealed.
KCI
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