송수권 시의 가락 연구 (A Study on the Poetic Rhythm in Song Soo-kwon's Poetry)

서지정보

· 발행기관 : 현대문학이론학회
· 수록지 정보 : 현대문학이론연구 / 39호 / 69 ~ 902페이지
· 저자명 : 김선태

초록

The purpose of this thesis is to explore the characteristics of rhythm in
Soo-kwon Song's poetry by categorizing it into the following four types: 1)
the traditional and the transformed rhythm; 2) the rhythm of masculine
sound; 3) aboriginal rhythm of the Southern province; 4) the rhythm of
lengthy curve. The the main part of this thesis can be summarized as
follows.
First, the rhythm in Soo-kwon Song's poetry is based on our traditional
rules of versification, yet it attempts a new transformation and development.
In other words, the rhythm of his poetry is based on the pattern of 3 foots
or 4 foots, but it is not limited by the basic pattern. He creates his own
unique rhythm by lengthening or dividing the line. Especially the long and
shady-hanging rhythm is the unique merit of his poetry, which is
distinguished from those of Yong Woon Han, Baek Seok, and Jeong Joo
Seo.
Second, we can find the masculine power in the rhythm of Soo-kwon
Song's poetry, and the sound imagery is so dominant that it has a big
boom. This sound effect is the result of his consideration that sound
imagery is an important element to represent musicality of poetry and adds
moist shine to the rhythm. In particular, he auralizes vision by endowing the
static object with dynamic sound imagery.
Third, the rhythm of Soo-kwon Song's poetry is mostly adopted from the
rhythm of Southern province. The traditional rhythm of the Southern province is made up of Pansori, folk song, farm music, dance, warrior song,
and a brisk and lively folk tunes including aboriginal dialect of Southern
province. Therefore, the rhythm in his poetry is very close to the
reorganization of all the rhythms in the Southern province. His poetic
rhythm is superior to those of his senior poets, Young Lang Kim and Jeong
Joo Seo, from Jeon La Province.
Fourth, the rhythm of his poetry meanders with lengthy curve. This
rhythm of curve, which embodies aesthetics of slowness, is brought from
the ridge line of mountains, the flow of rivers, the sound of bells, unpaved
country roads, and evening smoke.
Each of these four characteristics has its own point of difference, but
they are interconnected organically. In other words, they can be converged
into the rhythm of flexible curve. This rhythm of flexible curve is the
rhythm of the Southern province and the archetypal breath of Korea. It can
be epitomized by this one phrase “the rhythm of the allness of curve.”

영어초록

The purpose of this thesis is to explore the characteristics of rhythm in
Soo-kwon Song's poetry by categorizing it into the following four types: 1)
the traditional and the transformed rhythm; 2) the rhythm of masculine
sound; 3) aboriginal rhythm of the Southern province; 4) the rhythm of
lengthy curve. The the main part of this thesis can be summarized as
follows.
First, the rhythm in Soo-kwon Song's poetry is based on our traditional
rules of versification, yet it attempts a new transformation and development.
In other words, the rhythm of his poetry is based on the pattern of 3 foots
or 4 foots, but it is not limited by the basic pattern. He creates his own
unique rhythm by lengthening or dividing the line. Especially the long and
shady-hanging rhythm is the unique merit of his poetry, which is
distinguished from those of Yong Woon Han, Baek Seok, and Jeong Joo
Seo.
Second, we can find the masculine power in the rhythm of Soo-kwon
Song's poetry, and the sound imagery is so dominant that it has a big
boom. This sound effect is the result of his consideration that sound
imagery is an important element to represent musicality of poetry and adds
moist shine to the rhythm. In particular, he auralizes vision by endowing the
static object with dynamic sound imagery.
Third, the rhythm of Soo-kwon Song's poetry is mostly adopted from the
rhythm of Southern province. The traditional rhythm of the Southern province is made up of Pansori, folk song, farm music, dance, warrior song,
and a brisk and lively folk tunes including aboriginal dialect of Southern
province. Therefore, the rhythm in his poetry is very close to the
reorganization of all the rhythms in the Southern province. His poetic
rhythm is superior to those of his senior poets, Young Lang Kim and Jeong
Joo Seo, from Jeon La Province.
Fourth, the rhythm of his poetry meanders with lengthy curve. This
rhythm of curve, which embodies aesthetics of slowness, is brought from
the ridge line of mountains, the flow of rivers, the sound of bells, unpaved
country roads, and evening smoke.
Each of these four characteristics has its own point of difference, but
they are interconnected organically. In other words, they can be converged
into the rhythm of flexible curve. This rhythm of flexible curve is the
rhythm of the Southern province and the archetypal breath of Korea. It can
be epitomized by this one phrase “the rhythm of the allness of curve.”

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