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趙神權 연세대학교 인문과학연구소 1976 人文科學 Vol.36 No.-
1. The Background of Modern Literature from the Viewpoint of The Christian History of Korea It is quite evident that modern Korean literature could not have been produced without the modernization of the culture which is the soil of the literature. Considering this, scholars usually regard the space of about 145 years, from 1750 to the Kap-o Reform of 1894, as a period during which the preliminary process of this modernization was gradually being performed. Above all, the Silhak(practical learning) Movement, which thrived from the introduction of Catholicism, plated a great role in facilitating social reform in every sphere The Silhak movement was, especially responsible for severe criticism and a rebellious spirit on the part of the common people against the corrupt autocracy of the ruling class, but it ended as a memorable episode in the history of modernization for various reasons. Likewise, the Kap-o Reform and the Tonghak Movement did not succeed in forming the social climate from which modern literature could originate and grow, because the Kap-o Reform was caused not by the self-awakening of the nation but by the pressure of Japan. What was the driving force which succeeded in moderning our culture then? Frankly speaking, the real modernization of our culture had much connection with the entry of protestant missionaries into Korea in 1885 and their missionary activities. In particular, their Korean translation of the Bible not only has refined our language but also westernized our culture. Thus, we should not understimate the contributions of Christianity to the modernization of our culture.
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韓國近代文學에 미친 基督敎의 影響(2) : Ⅱ. 開化期詩歌와 基督敎 The Poetic Songs of Enlightenment Period and Christianity
趙神權 연세대학교 대학원 1977 延世論叢 Vol.14 No.1
The poetic songs which existed in the period of poetic transition from Old Poetry to the New- Style Poetry are generally called "Changga" or "Changga-Kasa". In this poetic form of "Changga", or "Changga-Kasa", they ostensibly include all the poetic songs published between 1896 and 1908, but in fact they are concerned almost exclusively with the poems and songs published by two newspapers, Tongnip-sinmun (1896-1899) and Taehanmaeil-sinbo (1905-1910). Those poetic songs appearing in these two newspapers differ from the traditional poetic songs of the Yi Dynasty in content. They express the patriotic and enlightenment spirit of the people. Such spirits of the Patriotic Songs bear a christian tinge in part, even hough they are the expression of the spirit of the times. The stanzaic divisions by blank spaces and the use of refrain which appear in the patriotic Songs published in Tongnip-sinmun are regarded as direct influences from Christian hymns. Even though they share 4-4 rhythm with the Kasa and Sijo of the Yi Dynasty, the structure of Patriotic Songs in Tongnip-sinmun has some other features that are not found either in Sijo or Kasa. First of all, these Patriotic Songs differ from Sijo in that they haute stanzaic divisions. In the case of Sijo, there is a division into three lines initial, medial, and final, but in the Patriotic Songs a stanza is made of a couplet of two lines, each consisting of two four-syllabled phrases. Secondly, another distinction is that the length of the Patriotic Songs, which are usually about ten stanzas, is no longer than the introductory part of a Kasa, which is usually extremely long with consecutive lines having no stanzaic features. Moreover still another aspect of Patriotic Songs which confirms the influence of Christian hymns is the use of refrain in Patriotic Songs even though a few scholars disagree with this opinion. Another possible approach to the question of whether or net the early Christian hymns influenced the early transitional poetic songs in general is to examine the contents of the poetic songs for clues. To do this it was necessary to go through as many of the poetic songs as possible published in Tongnip-sinmun and the poetic songs by Choi Nam Seun with a view to discovering all the lines with a christian tinge in their poetic expression or diction, and then to examine these examples with respect to their possible relationship or indebtedness to Christian hymns. In comparison to the effort made to do this, cases of actual indebtedness to Christian hymns are so much that it can be said that these hymns were a significant factor in the transition from Old Poetry to Modern Poetry.
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