초판 김동환 시선 (큰글씨책)

김동환

國境의밤
?을?라갓더니 ··················3
물결 ·······················5
北靑물장사 ····················8
先驅者 ······················9
漂泊 ······················10
눈이내리느니 ··················11
超人의宣言 ···················13
哭廢墟 ·····················14
國境의밤 ····················16

三人詩歌集
詩歌
봄비 ······················79
九十春光 ····················80
첫날밤 ·····················81
貞操 ······················83
罷業 ······················85
哀悼 ······················86
손톱으로색인노래 ················87
눈녹기前後 ···················90
五月의香氣 ···················91

小曲·民謠
님을보내고 ···················93
우슨罪 ·····················94
시작 ······················95
장승 ······················96
우리옵바 ····················97

俗謠
봄이오면 ····················98
언제오시나 ···················100
자장가 ·····················102
뱃사공의안해 ··················103
江이풀리면 ···················104
거지의? ····················105
팔려가는섬색시 ················106

海棠花
海棠花 ·····················109
불항아리 ····················110
希臘女人 ···················111
아모도몰르라고 ·················112
래일날 ·····················113
孤獨 ······················114
香불 ······················115
약수물터 ····················117
城隍堂황철나무에 ···············118
함박꽃 ·····················119
누나무덤 ····················120
落葉 ······················122
노래부르는뜻 ·················123
長安寺의老僧 ·················124
山너머南村에는 ················125
정든山川 ····················128
뻑국새우는마을 ················130


해설 ······················131
지은이에대해 ··················141
엮은이에대해 ··················144

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

파인(巴人)김동환(金東煥)은한국문학사에서사시를처음도입한서사시인또는민족적정체성을계승한민요시인으로기억된다.주지하듯이＜국경(國境)의밤＞은김동환에게서사시인의위상을부여했고,＜봄이오면＞,＜언제오시나＞,＜산(山)너머남촌(南村)에는＞등은김동환을민요시인으로각인시켰다.≪국경의밤≫의서(序)에서안서(岸曙)김억(金億)은“이表現形式을長篇?事詩에取하게되엿슴은아직우리詩壇에처음잇는일이매여러가지意味로보아우리詩壇에는貴여운收穫이라할것”이라며일찌감치한국현대시에서사시의출현을알렸다.＜국경의밤＞은내용과의미에앞서그‘표현형식’만으로당대시단에신선한충격이었으며,이후한국현대시사는이를서사시의최초사례로기록했다.＜국경의밤＞의형식에대한여러논의에도불구하고,서구시론에기반을둔자유시와민요형식을계승한민요시가현대시의주류를형성했던1920년대에＜국경의밤＞의출현은‘귀여운수확’을넘어문학사적사건이틀림없다.
한편,김동환은이광수,주요한과함께간행한≪시가집(詩歌集)≫을통해민요시인으로서의면모를유감없이보여주었다.“민요시라함은형식을말함이아니라내재적인리듬과정서를의미하는것인데,옛것이나새것이나간에민요적이란것은소박한것,더보편적인것,즉대중의것임이특징이요,생활에밀착하고있다는점에서민족적인전형을나타냄은두말할것이없다”는주요한(朱耀翰)의말처럼,김동환은민요시를통해소박하고보편적이며대중의생활에밀착된리듬과정서,즉우리민족의‘민족적전형’을유려(流麗)하게표현했다.1920년대,민족적삶의원형과감성을전통적형식에담아낸김동환은김억,김소월,주요한등과대등한위상을지닌민족시인이었다.
이처럼서사시와민요시는김동환의시와문학적위상을일괄할수있는유용한개념이자도구다.그러나이개념들을김동환의시를이해하는절대적척도로여기는것은경계해야한다.사실서사시와민요시는시의형식이므로,이개념들이강화된다는것은작품에대한이해를작품의형식에대한이해로치환하는오류를범하는것이다.요컨대김동환과서사시,민요시의피상적결합은오히려김동환의시를이해하는데걸림돌이될수있다.이를테면＜국경의밤＞의형식을강조한나머지,작품에내재된비극적낭만성,근대적개인의식,근대문명에대한비판등을간과하는것은작품에대한총체적인식으로부터멀어지는것이며,민요시의민족적성격을부각함으로써김동환의시를민족주의또는애국주의라는고정된틀에가두는것은그의시에담긴세밀하고다채로운감성을사장하는것이다.따라서김동환의시에대한이해는서사시,민요시라는형식과그속에담긴의식과감성을유기적으로결합할때에비로소완성된다.