추야(中也)와 호메이(泡鳴)의 시작법(詩作法)의 비교고찰

초록

This paper examines the differences and commonalities between Nakahara Chuya’s Poetry Consciousness and the issue of the consciousness of composing poetry in relation to Nakahara’s Literature Movement, Houmei’s Idea, Houmei’s Poetry Manner, Nakaya and Tradition, and Centralization. He looked at the consciousness, execution, and real life of poetry, focusing on poetry theories and criticisms such as “The Manner of New Poetry,” “The History of New Poetry,” “The Tradition of Poetry and Its Traditions,” and “Artistic Memorandum,” but consciously avoided creating contradictions. On the other hand, while considering the dualism of “Christianity,” “Art and Life,” and “Artist and Citizen,” it can be said that he was divided in order to live as an artist. The connection between Houmei, which continues to change while creating and maintaining consistent ideas, and Chuya, whose attitude and ideas have hardly changed since the time of the poem’s writing, was “unitary.” Art can create self-splitting. He continued to struggle for the unity of “real life and art.” That’s probably why Chuya respected Houmei The optimism of Houmei the work of “positive” life, the naturalistic representation poetry, and the image of life. Chuya’s pessimism, negative life’s work, symbolism, and image of death. It is roughly in contrast. Chuya had a view of religion that had been rejected by the sound of Houmei. However, the attitude of exploring the way of life as a poet through “unification” was the same. Of course, there was a difference between a poet who was unique but had a wide range of “executive” and a poet who struggled financially, an artist’s temperament who did not work his entire life, and a poet who remained personal. The other is the question of “metricality”. Foamong became too formal because of its strong obsession, and it was not released from the spell of the rhyme, and by becoming aware of the naturalistic aspects of the latter period and colloquially speaking, it led to the pursuit of “like”. Chuya, in other words, composed poems with outdated rhymes. They are located at the height and decline of the flow of the rhyme, with the Houmei written during the period when the period tolerated the rhyme, and Chuya written during the period when it was excluded as a traditional one.

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