초판 박노춘 함윤수 시선(큰글씨책)

박노춘함윤수

＜박노춘시선＞
밤 ························3
탱자 ·······················4
해바라기 ·····················5
琉璃窓 ······················6
旅程 ·······················7
悲鳥 ·······················8
靜夜 ·······················9
追憶 ······················10
激浪 ······················11
밤車 ······················12
證言 ······················13
바다 ······················15
가마귀 ·····················16
술네잡기 ····················17
空想의씨알 ···················18
오막사리風景 ··················19
航笛 ······················20
故鄕 ······················21
海霧 ······················22
부적 ······················24
焦燥 ······················25
미꾸리 ·····················27
지렝이 ·····················28
歸路 ······················29
花甁 ······················30
不如歸 ·····················31
핏방울 ·····················33

＜함윤수시선＞
앵무새 ·····················39
별 ·······················40
꿈 ·······················41
그의마음 ····················42
츄?립 ·····················43
水仙花 ·····················44
病床에서 ····················45
無題 ······················46
너구리같은女人 ·················47
밤 ·······················48
달(1) ······················49
달(2) ······················50
바닷가 ·····················51
박 ·······················52
不死의偶像 ···················53
祝宴 ······················54
時間 ······················55
밤 ·······················56
꿈 ·······················57
暗影 ······················58
歷史 ······················59
復?의女神 ···················60
聖餐 ······················61
葬送曲 ·····················62
偶像 ······················63
薔薇 ······················64
水仙花 ·····················65
腐爛 ······················66
거머리 ·····················68
鼠公 ······················69
花粉 ······················70
밤 ·······················71
無名指 ·····················72
戱畵 ······················73
包圍된太陽 ···················74
自動人形 ····················75
距離 ······················76
原罪 ······················77
花蛇 ······················78
女人 ······················79
?泄 ······················80
月見草 ·····················82
눈동자 ·····················84
除夜 ······················86
그리움 ·····················87
黃昏의노래 ···················88
이슬진두볼 ···················89
흰곰 ······················90
歌人 ······················93
공포의역사 ···················94
生命地帶 ····················97
神話 ······················98
迷路 ······················99
손톱 ······················100
造物主의장난 ·················101
落葉 ······················102
食人種 ·····················103
不渡手票 ····················104
交叉路 ·····················105
無許可建築 ··················106
平行線 ·····················107
候鳥 ······················108
늑대 ······················109

해설 ······················111
지은이에대해 ··················118
엮은이에대해 ··················122

지식을만드는지식‘초판본한국근현대시선’은점점사라져가는원본을재출간하겠다는기획의도에따라한국문학평론가협회에서작가100명을엄선하고각각의작가에대해권위를인정받은평론가들을엮은이로추천했다.엮은이는직접작품을선정하고원전을찾아냈으며해설과주석을덧붙였다.
각작품들은초판본을수정없이그대로타이핑해서실었다.초판본을구하지못한작품은원전에가장근접한것을사용했다.저본에실린표기를그대로살렸고,오기가분명한경우만바로잡았다.단,띄어쓰기는읽기편하게현대의표기법에맞춰고쳤다.

한국현대시사를서술하는책에서박노춘과함윤수,두시인의이름을언급하는예는좀처럼찾기힘들다.함윤수는활발한작품창작과문단활동에비해선문학사적조명을덜받은시인이다.박노춘은문학계에서그보다는더널리알려졌다.고전문학을연구하는국문학자로서그의명성과영향이크기때문이다.그러나시인으로서박노춘을기억하는이는문학연구자들사이에서도아주드물것이다.박노춘은첫시집이자마지막시집인≪여정≫을출간하기전에몇몇지면에서시를발표하긴했지만,시집을내기전이나낸후에도문단에나와본격적인문학활동을펼치지는않았다.
그럼에도박노춘과함윤수의시를한자리에모아놓고보면몇가지공통점도눈에띄고나름의의의를둘만한맥락을발견할수있다.
두시인의시를읽어보면무엇보다시편들이간결하고단아한단형을유지한다는공통점을짚을수있다.대부분시편들이10행을넘지않는데,이러한형식미는두시인의시적개성과무관치않을것이다.박노춘은시편들의분량이적어그개성을파악하기어렵지만,함윤수는후기작품들에서도절제되고단정한어조와호흡을유지한다는점에서이를뚜렷한시적특질로파악해도무리는없을것이다.
이러한극도로제약된형식적절제미를시대적맥락과결부해이해하는것도가능하다.박노춘과함윤수의작품들은대개1930년대중후반에쓰였을것으로추측된다.이때는1920년대후반과1930년대초반주류경향이었던단편서사시의형태가주춤하는동시에1930년대후반이후청록파의절제된균형미를추구하는경향이본격적으로대두하기바로직전이다.두시인은당시이러한시적경향의변화에어느정도영향을받았을것이다.
그들의시는청록파의시적경향과친화성을보인다.그러나자아의내면이아주축소되어자연자체가전경화되는청록파의주제와달리박노춘과함윤수의시에서모든자연물은서정적자아의객관적상관물로만등장한다.이러한주제상의차이가,아마도단형의형태를유지한다는점에서유사하지만의도적으로술어사용을자제하며여백의의미를확장하려는청록파의기법과달리,박노춘과함윤수의시에서자아의심정을직접적으로토로하는완결된문장을주로사용하는차이를낳은까닭이라고할수있을것이다.