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한국현대시 해석과 전통문학의 감각 : 한시(漢詩)의 경우를 중심으로
김용직 국어국문학회 2004 국어국문학 Vol.- No.138
The purpose of this work is to study the relationship between Modern Korean poetry and Classical Korean poetry in Chinese. Classical Korean poetry in Chinese has a history of more than 2,000 years. In the Koryo and Choson period, Chinese characters were central to the culture of Korea. At that time, a lot of classical Korean poems in Chines were written by the educated class, some of them were superior to Chinese poems. In the Modern period, Korean poetry strongly had the Western impact. As the result, the modern poetry of the West such as Great Britain, Germany, France, Russia, the United states and so on was imported and translated. Since then, Korean poets has written the modern poetry within the discontinuity of the tradition of classical Korean poetry in Chinese. This tendency that prevailed not only in the poetics but in the criticism resulted to various problems of the interpretation in modern poetry of Korea. Han yong-un is one of the most important poets in the history of modern poetry in Korea. When he was young, he studied Chinese letters and read some Chinese works. When he was grown up, he became a buddhist monk. He remained many excellent classical Korean poems in Chinese, based on the study of the Buddhist scriptures, because most of Korean buddhist monks had to learn the Buddhist scriptures through the Chinese letters. He also wrote a lot of beautiful Korean poems, <Al-soo-upseoyo (I don't Know)> is one of his masterpieces. The last part of this poem is as follows. Burn ashes become fuel again. My endlessly burning heart, whose night does this flickering lamp illumine? A Korean critic interpreted these lines as a 'Love song'. But we can realize this is a wrong interpretation when we carefully look up his classical Korean poetry in Chines. Most of the classical Korean poems in Chinese written by Han yong-un reflected the Buddhist thought and spirit. Those are metaphysical poetry.<Al-soo-upseoyo (I don't Know)> is one of the metaphysical poetry. Some of Korean critics, however, misinterpreted this poem as a 'Love song' because of the influence of the West, which has lots of love songs in its literature. It may be a new direction in poetics to analyze the structure of classical Korean poetry in Chinese. The theory of metaphor has been studied actively in modern criticism of the West. P. Wheelwright defined the metaphor is the combination of the two elements and a juxtaposition. He tried to analyze one of E. Pound's poetry, In a Station of th Metro as the example. The apparition of these faces in the crowd; Petals on a wet, black bough 'Apparition' and 'petals' are juxtaposed in these two lines. The modifying phrases of them have the same pattern. But it can be differently interpreted from the standpoint of the characteristic of respective words in the lines. In the first line, 'these faces defined by 'the crowd' is noun(pronoun) but 'wet' and 'black' in the second line are the adjective form. So these lines are not the complete juxtaposition grammatically. If we know 律詩 (Lu shih, Regulated verse), one of the forms of classical Korean poetry in Chines, the problems we faced here can be overcome. 律詩 consists of 8 lines. Line 3, 4 and line 5, 6 are strictly formed as a couplet. This is line 3, 4 of 黃眞伊(Whang Jin-i)'s poem, <奉別蘇判書世讓>(Bong Byul So Panseo Se-yang, Parting from a Lover), in the period of King Joongjong in the Choson dynasty. 樓高天一尺 In the pavilion that soars into the sky 人醉酒千觸 We have got drunk over many cups of wine The pattern of the third line is Noun+Modifier+Noun+Modifying phrase and the forth line has the same pattern. The strict rule of a couplet is kept. This two lines are juxtaposed not only in the form but also in the context. This strict juxtaposition relates organically to the meaning structure of this poem. It is impossible to use the strict juxtaposition by the Korean language and the Western languages - English, German, French, Italian, Russian and so on. 律詩, however, shows lots of examples of the strict juxtaposition in the theory of metaphor. We can have the meaningful outcome in the understanding of Korean poetry when we understand the tradition of classical Korean poetry in Chinese.