This research deeply dug into the relation between poetry of Park Mok-wol and poetry of Jo Ji-hun, focused on the poetic similarities and differences. For this, in chapter Ⅰ, the precedent researches are reviewed. In chapter Ⅱ, by examining growth environment, social life and religion of respective poet, the similarities and differences settled as backgrounds of poetry of them are grasped. The various subject matters, forms and the expressions of these poems are analyzed thoroughly in chapter Ⅲ to consider the similarities and differences of the poetic worlds of them. In chapter Ⅳ, finally, based on the previous discussion, the historical, literature historical and poetic-historical significances and the modern values are redefined to rediscover the meaning and stature of poetry of them.
This research premise that a poet is the being affected by domestic and foreign situations and sociocultural factors. Also, because the text and language of a person are certain to have intertextuality of any shapes though place and time are changed, a work of a poet operates analogously making mutual text(intertextuality) between works. Therefore, this research is for all of the poetry which Park Mok-wol and Jo Ji-hun published. For the methodology to treat texts, the theory of historical-biographical literary criticism and theory of formalistic literary criticism were jointly used and rhetorical and body-philological criticism methodology were mixed to focus on materials, forms and expressions.
Mok-wol and Ji-hun both have something in common on the poetic backgrounds in macroscopic aspects as followings. First, they were born in mountain village, Gyeongsangbuk-do Province of Republic of Korea. In Japanese Occupation Period, 1939 recommended by Joeng, Ji-yong they started the literary career on MunJang[文章]. They also became known to the world through a florilegium, CheongNokJip[靑鹿集] and unlike the other writers who were active then, they had no experience of study in Japan. Nevertheless they used Korean, the language of Republic of Korea, which was restricted by Japan to create and publish good poetry and transmit it to an after age. They were professors right after liberation and finally, they had published books about the principles of a poem and literary theory.
And the point that the poetry of Mok-wol and Ji-hun starts from the quest of nature and tradition-successive work, that the subsequent works can be divided chronologically[初期 ∙ 中期 ∙ 後期] according to changing form and that subjects and materials which was dealt by respective period share pulses can be called as common grounds in the macroscopic aspects, too. On the other hand, the poetry of them posed various differences in the microscopic side seeing that the nature as a material close to the home was demonstrated as the general nature and imaginal nature which can be met often in farming village in the poetry of Mok-wol but appeared as the real nature equal to tangible or intangible cultural asset mostly in the early poetry of Ji-hun[初期詩]. And poetry of Mok-wol reflects the daily life of head of ordinary household suffering from the hardships of life and consequent worry but poetry of Ji-hun has the difficulties of the times and a big aspiration to work for country and people anguishing in the face of it[中期詩] and third, that poetry of Mok-wol is mostly on the basis of the Christian view of the world but poetry of Ji-hun, of the buddhistic world view[後期詩].
Also, they both started their poetic career and began work activity in Japanese Occupation Period but wrote poetry with native language, Korean and put the Korean identity on it. On the other hand, the poetry of Park Mok-wol used indigenous local language with simple and folksy phonetic symbol, namely, everyday language, using dialects, etc., to describe the reality but the poetry of Jo Ji-hun used the antique ideogram called aristocratic language in the past to depict traditional and ethnic nature very accurately. And the poetry of Mok-wol starts from light and simple poetry and reaches to the work with narrative form and dialogic style but the poetry of Ji-hun starts from elegant and eloquent poetry and reaches to the work introducing inducement type and statement form.
Meanwhile, when we focus on the poetic world of them in the macroscopic side, we can see that they both borrowed imagism technique of western modernism for the poetic material and published relatively simple and clear form of poetry. However, with the microscopic view point, a lot of poetry of Park Mok-wol create the static emotions[靜] by putting positive conflicts and tension into the dynamic images[動] but a lot of poetry of Jo Ji-hun shows considerable differences in that they, seeking the unity with nature using static images[靜], express awareness of a reality and will of existence to call poem’s atmospherics to the dynamic emotions[動].
In addition, poetry of Mok-wol increasingly draws up the will and longing towards eternity based on the Christian view of the world. What the poetry of Mok-wol displays by this is the grace of God that fills the empty space[充滿] and the end of human life[人生世間] that is completed by it. This is, that is, the aesthetics of the filling and creation. Rather than this, poetry of Ji-hun expresses exploration to the source and conscious of return based on Buddhistic world view. What the poetry of Ji-hun shows by this is the position[解脫] that becomes light[無] by taking something that filled[有] out of it or by losing all the desire and the ultimate state of truth[道] which can be achieved by it. This is, that is, the aesthetics of making empty or extinction.
These similarities and differences, that is, their literary progress and boost that appear in the poetry of Park Mok-wol and poetry of Jo Ji-hun have its historical value and literature historical meaning in that they are based on the contents of historical life that they experienced and that the poetry of them was a resistance to put Korean nature and the emotion of Korean, Korean identity, with materials of our nature dying, even withstanding various shape of disgrace and humiliation in Japanese Occupation Period. Also, they have the topical meanings as followings. They borrowed imagism of modernism to suggest as an objective correlative, experiencing modern things flowed in Korea by Japan and from a specific point, through the new poetic finding, they wrote prose poems beyond the limits of traditional poems. By performing experimental creation of poetry including these, they revealed the identity and crack of consciousness of a poet as it is which they had to experienced as an intellectual of a nation and through it, mean while, the poetry has increasingly sharp intuition and wide and deep insight.
These aspects of poetry of Park Mok-wol and Jo Ji-hun not a little motivate younger students who treat poems nowadays. They make us think the poetic value as an action and an insight to historical life and era and seek poems which is much more well-polished and dignified with lyrical truth. In this time of literary historical and topical difficulties, with a common name of even “crisis of humanities”, the value and stature of poetry of Mok-wol and Ji-hun will make a fire in the identity and consciousness of creation of disappearing literary man and let poets who live in modern times not avoid training to proceed to more sharp intuition and dignified insights.
This research, as mentioned earlier, procures distinctive feature comparing to previous studies in that poetry of Mok-wol and poetry of Ji-hun were surveyed on general and holistic point of view and that the scope of this research had no limit on some subject or work. Lastly, the future researches need to survey and investigate more in diverse angles, expanding the scope more to all their poems that this could not treat and analysing intertextuality deeply with individual features of these poems, etc..
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