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영어

When literary works have organic nature, then limitedness of organic body can be meaning of substantialism. Revival movement of Korean ancient poem by People's Literacy Party at the later part of the 20th century had become a decisive momentum to rekindle dwindling light of literacy of ancient poem. Entering into 1930s, prominent new poets like Lee, ho-Woo, Kim, Snag-Ok, Jang, Eung-Du, Jo,Un, and etc emerged but, in particular, works of Lee, Ho-Woo and Chojeong were said to have been excellent in quality and had contributed a lot to activation of poem literacy. Chojeong was a poet of ancient poem who had inherited modern poem pioneered by Garam and Nosan and who had led the revival of modern poem together with Lee, Tae-Geuk. Ancient poem works of Chojeong are written in books like 『Chojeok/Grass flute』(1947, Suhyangseowon), 『65 pieces of three lines poem』(1973, Ajabang), 『Autumn with lingering fragrance』(1989, Sangseogak), and 『Words of Zelkova serrata』(1998, Sangseogak) Chojeong had started his full works of writing ancient poems as he was selected by Dongah Daily Newspaper in November 1939 with his ancient poem of and also was recommended by Garam, Lee, Byeong-Gi for his ancient poem of on the magazine of 『Munjang/Sentence』also in 1939. This thesis has the purpose of expanding the meaning by exploring the literary viewpoint specifically and consistently in the works of Chojeong ranging from the early period poem book of 『Chojeok/Grass flute』to the later poem book of 『Words of Zelkova serrata』in consideration of activation and modernization of poem literacy and by revealing the internal and external value of his works with the references of methodology of formalism and viewpoint of biographical histories. His literary viewpoint revealed in his four ancient poem book was detected in variety but can be compressed into three points; First, root-orientation and cleanliness are crystallization of the spirit of his poem that had been consistent during 60 years of his poems creation period. Root-orientation was indicated in his consciousness wishing to find root of our people, that is, mental hometown. He had chosen various materials showing traditional emotions of Korean people and had tried to express Korean traditional beauty as emotional root of the people which was his root-orientation of his literary works. In his will to pursue ideal future-oriented values as a root for securing national identity, it may be said that he went into symbol of root-orientation for realizing Korean soul. Sense of nationalism he had pursued in his poems was symbolized in his works through sublimation of cleanliness. Second, it is exploration of truth of meaning. Spirit to reveal and contain in this world full of lies was an exploration of truth and life of poems. He went over lies and aimed to pursue whispers of true souls which is essence of poems. Like this, he had consistent in his posture as a seeker of truth throughout his whole life to show the exploration of truth which was whispers of true soul through his poems. Third, imagery of poem and picture. Literacy of poem and picture suggests scenery itself without expression of emotion and the scenery implies the emotion. However, Chojeong draws not only sceneries but also sound of wind and heart filling inside of sceneries as well. He saw object but hided movement of subject intentionally. He painted a scroll of picture but he painted dynamic images together and had realized embodiment of those images.