초판 김억 시선 (큰글씨책)

김억

?의노래
?의노래 ·····················5
읽어진봄 ·····················6
피리 ·······················7
내설음 ······················8
풀밧우 ······················9
바다저便 ····················10
달과함? ····················11
배 ·······················12
갈매기 ·····················13
읽어지는記憶 ··················14
눈 ·······················15
가을 ······················16

해파리의노래
林檎과복송아 ··················19
安東縣의밤 ···················20
눈 ·······················22
별나?기 ····················24
十一月의저녁 ··················26
가을 ······················27
失題 ······················28
孤寂 ······················29
四季의노래 ···················30

漂泊
漂泊 ······················35

스?쓰의설음
하픔論 ·····················41
입 ·······················42
아츰잠 ·····················43
붉은키쓰 ····················44
歎息 ······················45
새?간피빗의진달내?이질? ··········46
애닯기도하여라 ·················47
火印 ······················48
달 ·······················50

黃浦의바다
黃浦의바다 ···················53
失題 ······················54
참살구 ·····················55
思鄕 ······················57
?의목슴 ····················58
이슬 ······················59
鳳仙花 ·····················60
初旬달 ·····················61
눈물 ······················62
남기운香내 ···················63
가는봄 ·····················64
椰子의몸 ····················65
죽음 ······················66
언제오서요 ···················67

半月島
밤의大同江가에서 ················71
江가에서 ····················72
記憶은죽지도안는가 ···············74
내世上은물이런가구름이런가 ··········75
三月에도삼질날 ·················76
記憶 ······················77
別後 ······················78
가을 ······················79

低落된눈물
설은喜劇 ····················83
祈禱 ······················84
低落된눈물 ···················85
悲劇의序曲 ···················86
友情 ······················88
탈춤 ······················89

黃昏의薔薇
失題 ······················93
사랑의? ····················95
? ·······················97
죽은記憶 ····················98
落葉 ······················100
田園의黃昏 ··················102
喪失 ······················103
봄은와서 ····················104
六月의낫잠 ···················105

北邦의小女
北邦의?님 ···················109
流浪의노래 ···················113
난홈의노래 ···················115
亡友 ······················117
三年의?날 ··················119
무덤 ······················121
봄의仙女 ····················123
聲樂 ······················125
나의理想 ····················127


해설 ······················129
지은이에대해 ··················137
엮은이에대해 ··················140

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

안서(岸曙)김억(金億,1896~?)은1915년일본유학생잡지인≪학지광(學之光)≫에시를발표하며문학활동을시작했다.이후시창작은물론서구시와시론을번역해문단에소개함으로써한국현대시형성과전개에크게기여했다.특히베를렌,구르몽,보들레르,예이츠등의시가수록된≪오뇌의무도≫(1921)는최초의번역시집이며,그의첫시집≪해파리의노래≫는한국현대시최초의창작시집으로기억되고있다.이처럼김억은현대문학초기의대표적시인으로서시뿐만아니라시론과번역을아우르며현대문학의새로운지평을열었다.
≪해파리의노래≫는시에대한인식과표현방식에서전대의시와구별된다.주로슬픔,외로움,그리움,설움등개인의감상적(感傷的)정서를감각적이고세련된시어로표현하는데,이는그의시론과깊이관련되어있다.김억에게시란인간의고조된감정을가장효과적으로표현할수있는형식,그자체였다.따라서≪해파리의노래≫엔시에대한김억의인식이고스란히반영되어있으며특히,시의사회적이념성이나사상성,계몽성은거의배제되었다.
≪해파리의노래≫에서김억이표출한주된감정은상실감과그리움,설움이다.상실감과그리움,설움은그내적동기가같다고할수있는데,이를테면상실감은어떤대상의부재로부터연유하는감정이라는점에서현재에존재하지않는과거의그무엇을추억하는그리움과발생원인이동일하며,다시상실감과그리움은설움을일으키는주된원인으로작용할가능성이매우높다.따라서상실감,그리움,설움은대상의부재라는공통분모에동시에연루되어있으며꼬리에꼬리를물고순환하는감정의원환(圓環)이라할수있다.
한편,김억은시의음악성을강조했다.시란인간의고조된감정의표출인동시에음악적표현이다.이른바시속엔자생적으로리듬이내재한다.리듬은인간의고조된감정을효과적으로표현하기위해알맞게선택된시의음악적요소다.달리말하면인간의감정을효과적으로표출할수있는음악적표현은감정의세세한결만큼이나다양하다.따라서정립되고고정된율격은인간의세세한감정을표현하는데적절하지않다.시인은자신의감정을표현하는데적합한율격을스스로창조해야한다.이러한인식은시형식의자율성과자연스럽게연결된다.요컨대음악적표현을강조한김억의시론엔이미‘자유시’가내재하며,이는한국현대시의형성에소중한자양분이되었다.
김억은시의본질을인간감정의표출로인식했다.감정을표현하기위한방법으로객관적상관물을주로활용했으며심미적차원의형상화에도주의를기울였다.또한감정을효과적으로표현할수있는음악적요소를중요시했다.이처럼개인적감정의표출과자유로운리듬의식을강조한김억의시와시론이한국현대시의초석이되었다는사실은누구도부인하지못할것이다.