초판 김영랑 시선(큰글씨책)

김영랑

1903년전남강진출생이다.강진의부유한지주가정에서태어나한학을배우며자랐다.1915년강진보통학교를졸업한뒤결혼하였으나1년반만에사별하고,휘문의숙에입학하면서정지용,이태준등을만나문학에관심을갖게되었다.1919년3.1운동당시고향에서의거하기위해구두속에선언문을감추고강진으로내려갔다가일본경찰에체포되어6개월간대구형무소에서복역하였다.1920년일본으로건너가아오야마학원에서영문학을공부했으나1923년관동대지진이일어나고향으로돌아오게되었다.1930년아호였던영랑이라는이름으로『시문학』에시를발표하면서본격적으로등단한그는관념과이데올로기에물들어있던당대문단에서섬세하게조탁한언어로순수서정시의새로운경지를개척했다.1935년첫번째시집인『영랑시집』을간행한후잠시공백기를갖는다.그시간동안그의시세계는변화해순수문학대신사회성이깃든시를짓기시작했다.광복후민족운동참가,민의원선거출마,공보처출판국장재직등활발한사회적활동을보였으며이시기에발표된시역시적극적인사회참여의욕을드러낸다.한국전쟁때서울에서은신하다가9.28수복을하루앞두고포탄의파편에맞아유명을달리하였다.

1 ························3
2 ························4
3 ························5
4 ························6
5 ························7
6 ························8
7 ························9
8 ························10
9 ························11
10 ·······················12
11 ·······················13
12 ·······················14
13 ·······················15
14 ·······················16
15 ·······················17
16 ·······················18
17 ·······················19
18 ·······················20
19 ·······················21
20 ·······················22
21 ·······················23
22 ·······················24
23 ·······················25
24 ·······················26
25 ·······················27
26 ·······················28
27 ·······················29
28 ·······················30
29 ·······················31
30 ·······················32
31 ·······················33
32 ·······················34
33 ·······················35
34 ·······················36
35 ·······················37
36 ·······················38
37 ·······················39
38 ·······················40
39 ·······················41
40 ·······················42
41 ·······················43
42 ·······················44
43 ·······················46
44 ·······················47
45 ·······················48
46 ·······················49
47 ·······················51
48 ·······················52
49 ·······················53
50 ·······················54
51 ·······················55
52 ·······················57
53 ·······················59
거문고 ·····················61
가야금 ·····················62
달마지 ·····················63
연 ·······················64
五月 ······················66
毒을차고 ····················67
墓碑銘 ·····················69
한줌흙 ·····················70
江물 ······················72
한길에누어 ···················74
偶感 ······················76
호젓한노래 ···················78
집 ·······················79
春香 ······················81
북 ·······················84
바다로가자 ···················86
놓인마음 ····················88
새벽의處刑場 ··················89
絶望 ······················91
겨레의새해 ···················93
연 ·······················95
발짓 ······················96
忘却 ······················97
感激八·一五 ··················99
五月아츰 ····················101
行軍 ······················103
앞허누어 ····················104
池畔追憶 ···················105
어느날어느때고 ················107
千里를올라온다 ·················109
五月恨 ····················111
琴湖江 ·····················113
예?ㅌ스(W.B.YEATS)詩篇 ··········115
나치反抗의노래 ················117
나치反抗의後記 ················125

해설 ······················127
지은이에대해 ··················162
엮은이에대해 ··················165

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

김영랑의초기와중,후기시세계는큰편차가있다.1930년에서1935년에이르는초기시편은그의시세계에서가장많이등장하는“마음”의감각과미의식이주조를이룬다.그의시세계에서마음은지성적인사고이전전일적인미분성의대상으로서순수자아의근원심상에해당한다.따라서그의마음의노래에는시대정신의날카로운문제의식이아니라부드럽고유려하고순화된미감이드러난다.그에게역사적현실의고통은마음의노래의비애와슬픔의정조로내면화되어추상적으로투영되고있는것이다.판소리의전통적미학에해당하는‘엇’혹은‘촉기’의미의식이초기시편의창작원리로작용하는것이다.이것은이를테면,박용철이김영랑의시세계에대해지적했던바처럼,“세계의政治經濟를變革하려는類의野心”이아니라그이전의근원적인“우리의신경을변혁시키려는야심이있는것이다”.
그러나1939년부터1940년그리고해방이후에해당하는중,후기에이르면시대정신에대한날카로운문제의식이전면에부각되고순연한“마음”의미의식과감각은휘발되고만다.일제말가혹한탄압과해방이후혼란상이그의순수자아의마음의노래를파탄시킨형국이다.그러나이것이곧그의시적삶에서사회성과역사의식을풍요롭게획득하는계기로작용한것은아니다.다시말해그의시세계는시대적현실에대한미적수용과형상화를이루어내지못한채산문지향적인직서적서술과비탄에그치는양상을드러낸다.특히후기시편에오면해방정국의극심한혼란이라는‘배반된희망’속에서감당할수없는충격과절망으로인해죽음충동에시달리는면모를보인다.그의시적삶은현실부정의정신을스스로날카롭게다듬으면서특유의정서적감성과‘시대적리듬’을획득할수있는새로운신생의길을열어가야하는국면에이른것이다.