한국 근대시의 역사적 흐름을 기술할 때 일반적으로 받아들여지는 ‘자유시 = 베를렌느 = 김억’의 등식이 김억의 자유시 모색 및 실천과 관련해 얼마나 타당한 명제인지 검토하고자 한다. 이러한 등식의 자명한 성격을 문제삼기 위해 한편으로는 ‘베를렌느 = 자유시’의 등식을 재검토하고, 다른 한편으로는 ‘김억 = 자유시’의 등식이 갖는 여러 문제점들을 살피고자 한다. 이를 위해서는 베를렌느 시 번역에 대한 기존의 비교문학적 관점, 즉 문법적 정확성과 충실성의 관점에서 벗어남과 동시에 기존의 자유시와 정형시의 이항대립적 관점에서도 탈피할 필요가 있다. 구체적으로 김억의 시론에 나타난 자유시의 이론적 모색이 갖는 의미를 살펴본 다음, 베를렌느가 표방한 ‘자유시’가 음절 수도 아무런 형식적 구속도 없는 넓은 의미의 자유시가 아니라 ‘정형율의 틀을 간직한 채 내적으로 자유로운 시’를 지향했음을 그의 시와 시론을 통해 보여주고자 한다. 마지막으로 김억의 베를렌느 시 번역에서 베를렌느의 독특한 ‘자유시’의 성격이 어떠한 ‘언어횡단적 실천’을 통해 구현되는가를 구체적인 텍스트 분석을 통해 보여주고자 했다. 이를 통해 김억이 번역을 통해 우리말로 옮긴 베를렌느의 자유시와 후기의 격조시는 통상적인 의미의 자유시와 정형시의 대립과는 다른 각도에서 설명되어야 하며, 이는 자유시에서 격조시의 이행과 단절이라는 김억 시학의 시기적 변모하는 중요한 문제와 만나게 된다.

Literary translation played an essential role in forming Korean modern literature. In the late 1910s and early 1920s, Uk Kim was the forerunner to translate foreign poems and spread them into the reader. In comparing and investigating the relationship between French Symbolism and Modern Korean poetry, the place of Paul Verlaine is very important. However, Uk Kim's translated works have been devalued by reason of erroneous and liberal translation of original works and inapt understanding. Verlainean poetic musicality leads Uk Kim juxtapose French Symbolist cadences with those of Korean and he transforms traditional Korean cadences into modern styles. Dance of Agony greatly contributed to helping the symbolic 'free verse' become the typical modern poetic form whose main purpose was the liberation from traditional 'fixed verse'. To examine how Uk Kim accepted new poetic words and new poetic form called 'free verse poem' could be a part of searching for the origin of formation of Modern poetry. This paper aims to study the interrelation between Uk Kim's translation of Verlaine and the formation of free verse poems. However, the poems of Verlaine can not be reduced to so called 'free verse' poem. He showed ambivalent attitude towards free verse poems. With these discussions, we can tentatively conclude that the impact of Verlaine's poetic musicality made recognize not only the importance of regarding the rhythm as poetic identity distinguished from prose but also the necessity of developing the particular form of free verse poem invented by Uk Kim.

Literary translation played an essential role in forming Korean modern literature. In the late 1910s and early 1920s, Uk Kim was the forerunner to translate foreign poems and spread them into the reader. In comparing and investigating the relationship between French Symbolism and Modern Korean poetry, the place of Paul Verlaine is very important. However, Uk Kim's translated works have been devalued by reason of erroneous and liberal translation of original works and inapt understanding. Verlainean poetic musicality leads Uk Kim juxtapose French Symbolist cadences with those of Korean and he transforms traditional Korean cadences into modern styles. Dance of Agony greatly contributed to helping the symbolic 'free verse' become the typical modern poetic form whose main purpose was the liberation from traditional 'fixed verse'. To examine how Uk Kim accepted new poetic words and new poetic form called 'free verse poem' could be a part of searching for the origin of formation of Modern poetry. This paper aims to study the interrelation between Uk Kim's translation of Verlaine and the formation of free verse poems. However, the poems of Verlaine can not be reduced to so called 'free verse' poem. He showed ambivalent attitude towards free verse poems. With these discussions, we can tentatively conclude that the impact of Verlaine's poetic musicality made recognize not only the importance of regarding the rhythm as poetic identity distinguished from prose but also the necessity of developing the particular form of free verse poem invented by Uk Kim.

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Uk Kim, Verlaine, translation, French Symbolism, poetic musicality, free verse, rhythm, syllable