초판 오일도 시선(큰글씨책)

오일도

1977년서울에서태어났다.경희대학교대학원국문학과에서현대문학박사과정을수료했고현재경희대학교후마니타스칼리지강사다.2009년≪문학사상≫신인상으로등단해시인으로활동하고있으며해설한책으로는≪정원석동화선집≫,≪한윤이동화선집≫,≪오일도시선≫,≪최남선평론선집≫등이있다.논문으로는＜재만조선인시에나타난‘다른공간’문제연구＞,＜임화시에나타난“태평양”의의미연구＞와공저로는≪키워드로읽는아프리카소설≫등이있다.

내창이바다에향했기에 ··············3
가을하늘 ·····················5
코스모스꽃 ····················6
地下室의달 ····················8
봄아침 ·····················10
봄비 ······················11
바람이붑니다 ··················12
十月의井頭園 ··················13
松園의밤 ····················15
별 ·······················16
도요새 ·····················17
白沫 ······················19
五月花壇 ····················20
누른葡萄잎 ···················22
노랑가랑잎 ···················23
壁書 ······················24
내戀人이여!가까이오렴! ·············25
가을은 ·····················27
人生의曠野 ···················29
눈이여!어서나려다오 ··············30
窓을남쪽으로 ··················32
아기의눈 ····················34
올빼미 ·····················36
돌팔매 ·····················38
爐邊哀歌 ····················39
解放의거리 ···················41
멀리오시는님어이맞으오리까 ··········45
찬壁 ······················51
검은구름 ····················53
그믐밤[除夕] ···················55
꽃에물주는뜻은 ·················57
새해아침 ····················60
물의誘惑 ····················61
한가람白沙場에서 ················62
흰구름 ·····················63
저녁놀 ·····················64


부록
積雪 ······················67
江村雪月夜逢故人 ················68
滿洲行一束 ···················69
夜發大邱驛 ··················69
鴨綠江 ····················70
胡馬 ·····················71
胡酒 ·····················72
寄舍兄 ····················73
戱與王道書院長 ················74
幼子 ·····················75
賭博軍 ····················76
靑樓怨(過間島靑樓街見朝鮮女人有感) ······77
隣家喪(見隣家平壤人喪老母有感) ········78
歲暮 ·····················79
又 ······················79
南飛雁 ····················80
病窓錄三篇 ··················81
夏夜苦 ····················82
霖雨 ·····················83
暮春 ·····················84
夕暮 ·····················85
秋感(懷) ···················86
酒後愁 ····················87
自傷 ·····················88
悲秋 ·····················89
城邊柳 ····················90
春色 ·····················91
園中匏 ····················92
春日 ·····················93
雨後江村 ···················94
白雲 ·····················95
白鷗 ·····················96
別恨 ·····················97
春恨 ·····················98
籬下菊 ····················99
招友人圍碁 ·················100
秋雨 ·····················101
西峯月 ····················102
寒梅 ·····················103
春暖 ·····················104
有客叩門 ··················105
苽(瓜)亭(오이집) ···············106
述懷 ·····················107
小屋成 ····················108
幽居 ·····················109
江山逢故人 ·················110
春日三兒 ··················111
夜無火 ····················112
螢火 ·····················113
迎春燕 ····················114

해설 ······················115
지은이에대해 ··················129
엮은이에대해 ··················133

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


시인오일도는그동안우리문학연구에서주로시집과잡지발행인으로평가해왔다.그는1935년2월에시전문문예지≪시원≫을창간했다.≪시원≫은범시단적성격의잡지로출범하면서당시시단에신선한자극을불러일으켰다.창간호에참여한시인들의면면을보아도당시≪시원≫이추구했던바를짐작할수있다.김기림,노천명,모윤숙,이은상,이하윤,조희순,함대훈등이필자로참여하고있는데,이를보아도유파에관계없이당대시인들의목소리를담으려고했다는것을잘알수있다.카프계열시인들의참여가보이지않는다는점과통권5호로잡지를출간한지한해도되지못한채12월에종간되었다는점등한계를보이기도했다.하지만카프해산이후모더니즘과시문학파등다양한시류로갈라지고있던1930년문단에서당시시의조류를모두아우르고자했다는시도는높이평가받고있다.바로이러한점에서≪시원≫을주도했던오일도에대한평가가이루지고있다.더불어오일도가1936년에국내외신문,잡지등의시들을선별해≪을해명시선집(乙亥明詩選集)≫을묶어낸것과조지훈의형조동진의유고시집으로≪세림시집≫을1938년에간행한것등도높은평가를받고있다.특히≪을해명시선집≫에선≪시원≫에싣지못한카프계열시인들의작품을포함하고있어오일도가우리문단에대해넓은관심을지니고있었음을짐작케한다.
잡지발행인으로서오일도의넓은시야나편집자로서뛰어난능력과달리시인으로서오일도는그동안거의다루어지지못했다.가장큰이유로는그가생전에시집을내지못했다는점을들수있다.그리고그의작품수가적다는점도한몫했다.
오일도는1925년≪조선문단≫에＜한가람백사장(白沙場)에서＞를발표하며등단했는데,가장왕성한활동을하던시기는1930년대였다.이시기자신이간행하던≪시원≫을통해시를발표하기도했는데,발표작은그리많지않다.해방후에도건강상의이유등으로창작에몰두할수없었다.1946년오일도가세상을떠나면서그의시작품은유고형태로조지훈에게건네졌다.그러나오일도의시가세상에모습을드러낸것은그뒤로도한참이지나서였다.처음그의유고가세상의빛을본것은1973년이었다.≪현대시학≫에그의유고가특집형태로실렸다.거기에실린시는29편이었다.오일도가보여준시에대한열정에비하면아쉬울수밖에없는부분이다.누락된원고들을추슬러서1976년에발간한유고시집≪저녁놀≫에실린시작품도39편이전부였다.이에반해한시는78수에달할정도라오일도의현대시에대한평가는어려울수밖에없었다.
이밖에도오일도의시가1930년대의특정유파와연관성을결여하고있다는점,그간의시사가주요시인들의연구에중심을두고있었다는점등때문에오일도의시에대한연구가부재했다고볼수있다.하지만최근그에대한연구가조금씩시도되고있다.오일도의현대시를한시와연관성속에서이해하려는시도나오일도시세계의흐름에대한고찰을시도하는논문들을살펴볼수있다.이러한시도들에도불구하고오일도의시에대한종합적인연구는앞으로도어려움을겪을수밖에없을것으로보인다.하지만그러한어려움들에도불구하고오일도의시세계를되도록정확하게파악하는일은우리문학사의다양성을풍부하게하는데분명도움이될것이다.
그동안의연구에따르면오일도의시는고향상실의식과감상적낭만주의,현실대결의지를드러내고있다.이는오일도의시가1930년대우리문학사와연관성을가지고있다는점을가리킨다.고향상실의식은1930년대우리시단의주요특징중하나였다.감상적낭만주의는시문학파의연관성을가리킨다.또한현실대결의식은일제에대한대항의식으로읽을수있는데,이또한1930년대우리시에서여러가지방식으로드러나는주제의식이다.그런점에서오일도가당시시단의유파어느쪽에도속하지않았다고하더라도당대문학의흐름과긴밀한관계를가졌음을볼수있다.