추가 적립 안내

『박용철 시선』은 1930년대, 리얼리즘과 모더니즘 사이에서 순수 서정시를 추구한 박용철의 시를 모은 시선이다. ‘시집가는 시악시의 말’, ‘사랑하든 말’, ‘부엉이운다’, ‘나는 그를 불사르노라’, ‘눈은 나리네’ 등의 시편이 수록되어 있다.

박용철(1904∼1938)은 1930년 3월 자신이 창간한 ≪시문학≫ 제1호를 통해 등단한 이후 약 8년이라는 짧은 기간 동안 시인, 비평가, 번역가, 극예술인, 출판 편집 발행인의 역할을 겸한 동시에 ‘시문학’ 유파를 형성하고 순수시 운동을 전개함으로써 1930년대 한국 시문학의 초석을 마련한 인물로 평가받는다. 실제로 박용철은 그리 길지 않은 문학 활동 기간에 시 창작 이외에도 ≪시문학≫, ≪문예월간≫, ≪문학≫, ≪극예술≫과 같은 문학잡지를 발행하는 한편, 순수시론의 이론화를 선도했고 또 약 330여 편에 이르는 해외 서정시 번역에도 집중했으며 해외 극본을 번역하고 연극 공연에도 적극적으로 참여하는 등 시인으로만 한정할 수 없을 정도로 다양한 영역에서 활동했다는 점에서 1930년대 한국 시문학사의 한자리를 차지하고 있음을 부정할 수 없다. 그럼에도 불구하고 박용철의 창작 시가 다른 시인들에 비해 편수도 적을 뿐만 아니라 그의 시 세계와 시론적 지표가 일치하지 않는 점, 그리고 동시대의 다른 시인들에 비해 함량 미달이라는 평가를 받고 있는 점 등으로 인해 그를 시인으로 평가하는 데 유보적인 입장을 취하거나 오히려 비평가로서의 위상이 보다 강조되고 있는 것도 사실이다.
1930년대는 카프 문인들로 대표되는 리얼리즘 시론 그리고 이미지즘과 주지주의로 대표되는 모더니즘 시론이 경합하는 가운데 박용철이 순수시 유파를 형성하면서 순수시의 이론화 작업에 힘을 기울이던 시기였다. 박용철의 순수시론은 문학의 이념성과 기법·기교적 측면으로부터 거리를 둔 채 순문학의 본질적 성격에 대한 탐색으로 수렴된다고 할 수 있는데, 이는 시를 시인과 현실 세계로부터 분리된 객관적 존재물로 파악하면서 심미적 경험의 순수성과 예술적 자율성을 지향했다는 점에서 의의가 있다. 따라서 민족어로서의 ‘국어’가 아닌 문학 언어, 즉 ‘시어’로서의 언어적 자각을 명료히 함으로써 일제 식민 치하에서 조선어의 시적 가능성의 기반을 마련했다는 점에서 주목할 만하다.

三行詩 ······················3
나무닢 피기 전 ·················3
봄에 부는 바람 ·················4
○ ························6
○ ························8
Happiness Renewed ···············10
나그냇길의 아침 ·················12
○ ·······················13
?나가는 배 ···················14
밤기차에 그대를 보내고 ··············16
이대로 가랴마는 ·················19
싸늘한 이마 ···················20
비 나리는 날 ···················21
시집가는 시악시의 말 ···············22
우리의 젓어머니(소년의 말) ············25
한 조각 하날 ···················26
사랑하든 말 ···················27
仙女의 노래 ···················29
哀詞 中에서 ···················32
哀詞·1 ·····················34
時調五首 ····················36
마음의 墜落 ···················38
哀詞·3 ·····················39
고향 ······················41
어듸로 ·····················43
時調六首 ····················44
斷片 ······················46
＜?은 날개＞篇 ·················47
밤 ·······················51
小惡魔 ·····················53
그 전날 밤 ····················55
希望과 絶望은 ··················59
萬瀑洞 ·····················61
비 ·······················63
無題 ······················65
Be nobler! ····················66
絶望에서 ····················67
나는 네 것 아니라 ·················68
부엉이운다 ···················69
무덤과 달 ····················72
비에 젖은 마음 ··················74
斷想·1 ·····················75
斷想·2 ·····················77
기다리든 때 ···················78
失題 ······················80
失題 ······················81
冬至 ······················82
忘却 ······················83
로?만스 ····················85
센티멘탈 ····················88
새로워진 幸福 ··················90
빛나는 자최 ···················92
三部曲(夏의 部) ·················94
나는 그를 불사르노라 ··············100
다시 ······················102
두 마리의 새 ··················104
사티?르 ····················106
유쾌한 밤 ····················107
失題 ······················109
失題 ······················110
눈은 나리네 ···················112
눈 ·······················113
달밤 모래 우에서 ················115
어느 밤 ·····················116
솔개와 푸른 쏘 ·················117
하욤없는 바람의 노래 ··············119
失題 ······················122
좁은 하눌 ····················123
너의 그림자 ···················124
邂逅 ······················125
안 가는 時計 ··················126
人形 ······················127
타이피스트 孃 ··················128
戀愛 ······················129
눈 ·······················130
Invocation ···················132
祈願 ······················133
試作四首 ····················135
失題 ······················136
失題 ······················139
失題 ······················140
漢詩習作 ····················141

해설 ······················153
지은이에 대해 ··················168
엮은이에 대해 ··················182