이 글은 전후 모더니즘 시의 미학을 고찰하기 위해 김종삼․김광림․전봉건의 연대시집인『전쟁과 음악과 희망과』에 나타난 음악적 특성과 시의식을 주목하였다. 김종삼의 시에서 ‘음악’은 전경화된 회화적 풍경 속의 배경음악처럼 은밀하게 묻어나온다. 김종삼은 이처럼 ‘묘연한 음악’을 통해 삭막한 지상의 현실에 “물”과 “그늘”을 내려주는 신의 은총을 시적으로 형상화한다. 김종삼은 신의 존재를 인정하고 그 임재를 경험하기도 하지만, 신이 부재하는 지상에서 은총처럼 하늘에서 내려오는 “물”과 “그늘”과 “음악”을 인간들에게 전달해주는 전령사이다. 김광림의 시에서 ‘음악’은 자연의 본래적 생명을 담은 인간의 가장 소중한 가치로 제시된다. 김광림 시에서 ‘노래’ 즉 ‘음악’은 운율이나 호흡상의 효과를 살려내는 시적 형상화의 기법으로 작용하기보다는 의미를 구현하는 개념적 언어로 등장한다. 미래에 대한 전망과 비전을 찾을 수 없는 허무와 공허와 상실감은 “잃어버린 神”이라는 표현으로 응축되어 나타난다. 시인에게 있어 전쟁의 참상과 폐허의 현실은 절대적 가치를 상징하는 ‘신’의 상실과 부재로 간주되는 것이다. 전봉건의 시에서 ‘음악’은 인간과 자연과 우주가 공통적으로 가진 유동성과 순환성의 원리를 체득함으로써 산출되는 생명의 노래이다. 4음보의 율격은 음위율과 결합되어 유동적이고 순환적인 음악적 율동을 구현하고, 반복되는 지시대명사나 단어나 문장의 율격도 이와 유사한 효과를 얻는다. 이중의 도치 구문과 교묘한 행갈이는 생명의 박동감을 리듬에 실어 전달하며, 단어의 반복도 급박한 호흡으로 긴장감을 고조시키며 힘찬 리듬감을 형성한다. 전봉건의 시의식 속에서 성경적 모티프는 인간과 자연과 우주가 하나의 생명 공동체라는 일종의 범신론적 사유의 한 부분으로 포함된다고 볼 수 있다.

This writing observed musical property and poetic conscious to investigate esthetics of postwar modernism poetry. Analytical target is mainly Kim, Jong-Sam, Kim, Gwang-Rim, Jeon, Bong-Geon's anthology War and Music and Hope and. This writing compares musical property of three poets, and investigated engagement and interrelationship of poetic conscious that it has. Music is sound of confidentially like background music inside pictorial scenery in Kim, Jong-Sam's poetry. Kim, Jong-Sam materializes poetically God's grace who drop off 'water' and 'shade' in actuality of ground through 'vague music' like this. Kim, Jong-Sam believes 'existence of God' and experience his being, but he is a messenger that deliver 'water' and 'shade' and 'music' coming in heaven like grace to humans in actuality of ground that 'absence of God'. Music is presented of the most important value of human who fill original life of nature in Kim, Gwang-Rim's poetry. 'A song' that is 'music' appears in 'conceptional language' that embody meaning rather than act by poetic configuration technique that rescue effect of rhythm in Kim, Gwang-Rim's poetry. He regard the horrible scenes of war and actuality of ruins as 'loss of God' that symbolizes absolute value. Music is 'a vital music' that human and nature and universe are calculated getting from experience principle of having fluidity and circularity commonly in Jeon, Bong-Geon's poetry. 4 metrical rule embody circulatory musical rhythmic movement, and rule of repeated demonstrative pronoun or word or composition gets similar effect. Double inversion commission and dexterous line of verse deliver truthfulness to life in rhythm, and repeat of word enhances tense feeling and forms full of strength by imminent breath. We can think that Biblical motif in Jeon, Bong-Geon's poetry is included to a part of a kind of 'pantheistic thought' that human and nature and universe are one life community.

This writing observed musical property and poetic conscious to investigate esthetics of postwar modernism poetry. Analytical target is mainly Kim, Jong-Sam, Kim, Gwang-Rim, Jeon, Bong-Geon's anthology War and Music and Hope and. This writing compares musical property of three poets, and investigated engagement and interrelationship of poetic conscious that it has. Music is sound of confidentially like background music inside pictorial scenery in Kim, Jong-Sam's poetry. Kim, Jong-Sam materializes poetically God's grace who drop off 'water' and 'shade' in actuality of ground through 'vague music' like this. Kim, Jong-Sam believes 'existence of God' and experience his being, but he is a messenger that deliver 'water' and 'shade' and 'music' coming in heaven like grace to humans in actuality of ground that 'absence of God'. Music is presented of the most important value of human who fill original life of nature in Kim, Gwang-Rim's poetry. 'A song' that is 'music' appears in 'conceptional language' that embody meaning rather than act by poetic configuration technique that rescue effect of rhythm in Kim, Gwang-Rim's poetry. He regard the horrible scenes of war and actuality of ruins as 'loss of God' that symbolizes absolute value. Music is 'a vital music' that human and nature and universe are calculated getting from experience principle of having fluidity and circularity commonly in Jeon, Bong-Geon's poetry. 4 metrical rule embody circulatory musical rhythmic movement, and rule of repeated demonstrative pronoun or word or composition gets similar effect. Double inversion commission and dexterous line of verse deliver truthfulness to life in rhythm, and repeat of word enhances tense feeling and forms full of strength by imminent breath. We can think that Biblical motif in Jeon, Bong-Geon's poetry is included to a part of a kind of 'pantheistic thought' that human and nature and universe are one life community.

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postwar modernism poetry, musical property, poetic conscious, vague music, conceptional music, vital music, existence/absence of God, loss of God, pantheism, Kim, Jong-Sam, Kim, Gwang-Rim, Jeon, Bong-Geon