초록/요약

This paper examines how Chinese poems(hansi) were translated and accepted in the first half of the 20th century, when free poetry in Korean is the center, after the 15th century, when Korean texts first existed. The late 19th century was officially declared. The 15th century is still a time when Chinese poetry and Chinese characters are centered, but the 20th century is when Chinese and Chinese characters exist, but Korean and Chinese poems are centered. Through the translation aspects of Chinese and Korean literature and the two modern periods of the Middle Ages and the Chinese poetry, which are entirely different in the perception of poetry, we wanted to examine the process of growing up and finding self-identity. To this end, 11 of the 1,500 translation poems of the late 15th century were found overlapping with those of modern poets. Among them, <Denggao(登高)>'s translation poems of Park Jong-hwa, Kim Eok, and Shin Seok-jeong were compared. Through Chapter 2, we could see that the translation of 󰡔Tushieonhae(杜詩諺解)󰡕 itself became the complete result of Korean language rather than eliminating or reducing the annotation and using the forms of Daegu, rhyme, and intonation. Thus, it can be seen that intellectuals who enjoy both Korean and Korean poetry among intellectuals contribute greatly to the work of enhancing their capabilities and creating Korean and Joseon poems, which are arrival languages. On the other hand, through Chapter 3, modern poets expressed the characteristics of Yulsi in various ways according to their individuality, and the translation of the conclusion was translated oppositely from 󰡔Tushieonhae(杜詩諺解)󰡕. Through this, Hansi, the center of East Asian literature in the Middle Ages, was transformed into individual works and individual creative capability in modern times to show the public what important characteristics of free poetry in the modern vernacular are.