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초록

There seems to be a big gap between two groups of Oh Jangwan's poems: One group includes Seongbyeog(1937) and Heonsa(1939), while the other group includes byeongdeunseo-ul(1946), nasaneungos(1947), and bulg-eungi(1950), all written after the liberation of Korea from the Japanese colonial rule. He pursued the aesthetics of lyric poetry in the early stage of his poetic world, formulating a modernity of its own. But the poems written in later stage with the exception of nasaneungos display a typical pattern of classism. Analyzing what he did as a member of the literary coterie Si-inbulag provides an important clue in understanding the nature of his early poems. The poems in this period are characterized by narratives usually forming a single stanza. Meanwhile, an experiment with long poems as opposed to the aforementioned short ones also draws our attention. This also shows an important aspect of the modern lyric poetry. In addition, we are repeatedly reminded of the theme 'hometown,' looking into the avantgarde nature of his poems. As can be seen here, Oh's sense of 'life' is an irony in itself. The division of the nation after its liberation not just served as a chance for the locality of 'hometown' to be lost but enabled it to be reconstructed as a socialistic space. The north turned out to be the field where an ideal is realized. Oh attempted to materialize a genuine humanity through a literary avantgarde. The end of his career as a poet and his leftist thinking after Korea's liberation seem to have been inevitable.

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