가람 이병기 시조의 현대적 의의

이숭원(Soong won Lee)(李崇源) 서울여자대학교 인문과학연구소 2015 인문논총 Vol.29 No.-

가람 이병기에게 가장 직접적인 영향을 준 사람은 주시경이다. 그는 주시경의 강의를 통해 한글 사랑을 통한 민족의식을 갖게 되었다. 그의 시조 창작은 한글 사랑의 일환이었다. 시조는 한글을 활용하여 우리의 정조를 표현할 수 있는 고유의 시형이었기 때문이다. 그의 시조 창작의 배경에는 한글에 대한 깊은 사랑과 일제강점기 한국인의 민족의식이 가로놓여 있다. 그는 국문학 연구에서 한글 문학을 늘 우위에 두고, 설화나 판소리 등의 ‘서민문학’을 문학사 기술에 적극적으로 도입하여 한국문학사의 폭과 깊이를 확대했다. 시조의 경우에도 유학자적 풍류의 시조보다는 정감 표현의 시조, 언어 구사의 묘미를 살린 시조에 더 관심을 두었다. 이병기에게 책은 단순한 지식의 기록물이 아니라 선인들의 정신이 담긴 저장소다. 그래서 그는 평생 우리의 고전 전적을 모으고 읽고 연구하는 일로 일관했다. 일제강점기 동안 수천 점의 고서를 수집했는데 그것을 모으는 정성에는 애국의 사명감이 깃들어 있었다. 그는 책을 읽고 연구함으로써 어려운 시대를 이겨낼 수 있는 힘을 얻었다. 그는 앞날의 기약이 보이지 않는 일제강점기 암담한 상황 속에서 망해버린 나라의 옛 전적을 모으고 사랑하기를 자신의 몸처럼 하였다. 그의 시조 창작은 이러한 민족정신의 연장선상에 피어난 봉화다. 이병기는 시조의 형식적 특징을 3장 8구로 설명했는데, 이것은 시조의 형식이 자유롭다는 점을 강조하기 위함이다. 이와 함께 그는 시조의 ‘격조’의 문제를 중요하게 제기했다. 음악으로서의 창(唱)이 사라진 현대의 단계에서는 의미와 소리의 호응이 중요성을 지닌다고 보고 그것을 ‘격조’라는 말로 나타낸 것이다. 그가 설명한 형식의 자유로움, 그리고 격조의 중요성은 그의 시조 창작에 자연스럽게 투영되어 나타난다. 그는 시조를 창작할 뿐만 아니라 시조를 보급하는 데에도 적극적이었다. 고시조 300여 편을 소개한 『역대시조선』(1940)을 발간했고, 새로운 시조 시인을 배출하는 데에도 힘을 기울였다. 해방 후 국어 교과서 편수관이 되어 고전 시조와 현대시조를 교과서에 실음으로써 시조 대중화에 크게 기여했다. 이병기의 시조가 지닌 현대적 의의는 그가 벌인 이러한 다양한 활동에서 조명되어야 한다. 이러한 통합적 노력은 당시 어느 누구에게서도 찾아보기 어려운 가람만의 독자적 영역이었다. The one that influenced Garam Lee Byeong-gi the most directly was Ju Si-gyeong. Based on Ju Si-gyeong’s lecturing, he could have national consciousness with love towards Hangul (Korean alphabet). His creation of Sijo was part of his love to Hangul. Sijo was an original form of poetry in which Hangul was used to express our own sentiment. In the background of his creation of Sijo, his deep affection to Hangul and Koreans’ national spirit during the Japanese colonial era were present. He always put emphasis on Hangul literature in his studies on Korean literature and introduced ‘popular literature’ such as folk-tales and Pansori aggressively in his description of our history of literature to increase both width and depth in the history of Korean literature. About Sijo, too, he showed more interest in Sijo that expressed sentiments or highlighted the beauty of using words rather than those dealing with Confucian taste for the arts. To Lee Byeong-gi, classic books were not just records of knowledge but storage of our ancestors’ mind. This is why he strived to collect, read, and study our classical records consistently in his entire life. During the Japanese colonial era, he gathered thousands of old books, and his endeavoring to collect them all reflects his sense of mission for patriotism. His attitude of reading and studying did empower him to overcome that harsh era. In the dark circumstances during the Japanese colonial era when he could not see any promising future, he collected the old records of his country that had already collapsed and loved them just like his own body. His creation of Sijo was a sort of signal fire raised on the extension of such national spirit of his. Lee Byeong-gi explained Sijo’s formal characteristics with 3 lines-8 bars, and it was because he meant to emphasize Sijo had a free form. Along with this, he also raised the matter of ‘gyeokjo’(elegant tune) in Sijo importantly. In the phase of the contemporary age with no ‘chang’(singing) as music, he deemed that correspondence between meaning and sound was very important and referred to it as ‘gyeokjo’. The free form and importance of gyeokjo he came up with are naturally found in his creation of sijo. He was active about not only writing but distributing Sijo. He released ‘Yeokdaesijoseon’(1940) which introduced about 300 pieces of classical Sijo and made efforts to foster new poets of Sijo. After the emancipation, he became an editorial officer of Korean textbooks and included both classical and modern Sijo in the textbooks, which contributed greatly to the popularization of Sijo. The contemporary significance of Lee Byeong-gi’s Sijo should be examined from the aspects of these various activities of his. This kind of integrative effort was, in fact, Garam’s unique, extraordinary area which can hardly be found in any other person in that era.

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.

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.

선(禪)과 차(茶)와 시(詩)

이숭원(Soongwon Lee) 서울여자대학교 인문과학연구소 2018 인문논총 Vol.32 No.-

선과 차와 시의 관련성을 밝혀 차와 선이 마음을 비우고 깨끗하게 하며 어느 한 곳에 집착하지 않는 무념무상의 상태를 지향한다는 것을 살펴보았다. 선과 시의 관련성에 대해서는 고려 시대의 한시와 현대시 작품에 나타난 선적 직관의 특징을 고찰했다. 고려시대 한시는 주로 선이 추구하는 직관적 깨달음을 표현했고, 현대시의 경우에는 일상적 차원에서 담담한 깨달음을 얻는 모습을 표현했다. 진리가 어떤 오묘한 곳에 있는 것이 아니라 우리가 숨 쉬고 살아가는 일상의 삶속에 있다는 것을 암시하는 새로운 측면을 나타냈다. 조선시대의 추사 김정희는 시와 차와 선이 하나로 융합된 특징을 한 몸으로 보여준 인물이다. 50대 초반까지 승승장구하여 조선 최고의 학자이자 서예의 대가로 인정받던 그는 50대 중반 이후 정치적인 탄압을 받아 제주도와 함경도에서 9년간의 유배를 당했다. 50대 중반 이후 김정희의 삶은 고난의 연속이었다. 이 시기에 그의 마음을 지탱 하는 데 도움을 준 것은 선불교 정신이다. 불교에 대한 그의 관심은 30 대에 시작되었는데 그것은 평생에 걸쳐 심화되고 완숙되었다. 유배에서 풀려 67세부터 과천에 은거할 때는 물처럼 맑고 고요한 마음을 유지하면서 노년의 무심과 무욕의 상태를 표현했다. 그의 말년의 작품 들을 보면 시와 차와 선이 일체를 이룬 노년의 담담한 경지를 확인할수 있다. 이러한 검토를 통해 삶의 시련을 거치면서 마음과 몸을 가다듬고는데 차가 어떠한 도움을 주었는지, 고난의 세월을 극복하고 정신의 높은 경지를 추구하는 과정에서 선불교적 탐구가 어떠한 삶의 예지를 갖게 했는지 짐작할 수 있다. 일상생활의 측면에서 한 단계 높은 정신 세계를 영위하는 데 선과 차와 시가 중요한 역할을 하였음을 확인할수 있다 This study identifies the relationship among Zen, tea, and poetry, and examines the fact that tea and Zen make our minds empty and clean and that their purpose is achieving a state of being free from all thoughts and ideas which allow us not to be obsessed with one thing. As for the relevance of Zen and poetry, I examined the characteristics of Zen-ish intuition reflected in the Chinese poetry in Koryo Dynasty and the modern poetry. The Chinese poetry in Koryo Dynasty mostly expressed the intuitive enlightenment sought by Zen, but the modern poetry composedly described gaining wisdom on a daily basis. It showed a new aspect implying that the truth did not lie somewhere in abstruse, but lives with us in our daily lives. Chusa Kim Jeong-hui in Chosun Dynasty is the representative person who demonstrated the combined characteristics of poetry, tea, and Zen. Although he was on the fast track until his early 50s and was recognized as the greatest scholar and the master of calligraphy in the Joseon Dynasty, he was exiled and spent nine years in Jeju island and Hamgyong-do due to political repression after his mid-50s. Since then, his life went through endless suffering. During this period, he found help from the spirit of Zen Buddhism to keep his mind. Chusa Kim Jeong-hui started to have an interest in Buddhism since his 30s, and his interest became stronger and matured throughout all his life. During his retirement in Gwacheon since 67 after the exile, he expressed the selfless and absent state in the worldly desires in his old age while maintaining a clear and calm mind like water. Works from his later years evidently show his peaceful state reflecting the unified poetry, tea, and Zen. Through these examinations, I was able to assess that tea helped him to refine his mind and body and that the Zen Buddhist contemplation taught him etiquette and wisdom from his seeking higher spiritual realm through overcoming the years of suffering. In other words, it is identified that Zen, tea, and poetry played an important role in living advanced spiritual world than others in the aspect of daily life.

서정주 시에 나타난 ‘바다’의 의미 변화

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

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.

최찬식의 「 추월색 」 고

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

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.

육당의 문학관과 시조

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

시 연구와 시 교육의 관계

이숭원(Soong Won Lee) 한국어교육학회 2002 국어교육 Vol.- No.107