피천득 시세계의 변모와 그 의미 -시집 출간 현황과 개작의 양상을 중심으로-

초록

The purposes of this study were to examine the changing process of Pi Chyun Deuk's poetic world and understand its significance with a focus on the publication state of his poetry books and his adaptation patterns. The findings were as follows:First, the publication state of his seven poetry books was examined along with the system and nature of each of them. All of the seven poetry books(Geumashimunseon and The Coral and Pearls were creative collections including even prose) had the nature of anthology except for the first one, Collection of Lyrical Poems. Second, his poems included in his first poetry book Collection of Lyrical Poems published in 1947 also appeared in his later poetry books except for The Moon and August 15. The Landscape of Shanghai was omitted in Geumashimunseon, The Coral and Pearls, and Geumashiseon and reappeared in Poetry Book of Pi Chyun Deuk with a new title, Shanghai in 1930. Praises first published in Geumashimunseon continued to reappear in his poetry books until Poetry Book of Pi Chyun Deuk and was not found in Life(1993) and Life(1997). Third, the poems overlapped among his seven poetry books varied in the order of appearance and arrangement among the poetry books. Fourth, some of the poems reappearing in his poetry books had the titles changed or the content adapted. Fifth, his first criteria to omit or adapt a poem were the completion level of work and poetic effects. In addition, the shifting situations of the times and the resulting changes of his poetic consciousness seem to have influenced his choice of including or adapting a poem in his new poetry book. Sixth, the consistent thematic consciousness throughout his poetry was the pursuit of life. However, the poems showing his awareness of getting old and dying, his daily experiences and consciousness, and his self―consciousness as a poet grew more prominent in his later poetry books. Considering all the new findings about his poetry, it seems that his poetic consciousness and his consciousness as a poet was generally simple. The fact that there were more of his old poems in his new poetry books than his new poems demonstrates that he had a different practice of publishing a poetry book than the general custom. He did not seem to have very sensitive consciousness of the poetry genre in that a poem he clearly defined as "Shijo" in his first poetry book turned into a series poem in his later poetry books without any change to the form. He created his works without a strict distinction between modern poetry and modern Shijo and between children's verses and children's songs from 1930 to 1932 when he began to write poems. It seems that he had no strict consciousness of the poetry genre in the early days. As he proceeded to publish seven poetry books, however, his consciousness of death, everyday life, and poetry writing increasingly deepened in his poems.

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