초판 박용철 시선(큰글씨책)

박용철

1930년대사재를털어문예잡지≪시문학≫3권(1930),≪문예월간≫4권(1931),≪문학≫3권(1934)등도합10권을간행하였다.또한문학활동에전념하면서도그가주재하던시문학사에서1935년≪정지용시집≫과≪영랑시집≫을간행하였지만,정작자신의작품집은내지못하였다.≪시문학≫창간호에[떠나가는배]·[밤기차에그대를보내고]·[싸늘한이마]·[비내리는날]등을발표하면서부터본격적인시작품활동을하였으며,≪시문학≫·≪문예월간≫·≪문학≫및기타잡지에많은작품들을발표하였다.또한발표되지않고유고로전하여진작품도상당수에달한다.자신이주축이된시문학동인활동과‘해외문학파’,‘극예술연구회’회원으로참여하여연극공연을위한몇편의희곡(입센원작≪인형의집≫,그리고[바보],[베니스상인],[말안하는시악시],[사랑의기적]…등)을번역및창작하였으며직접단역으로출연하기도했다.방대한번역시등을통해해외문학을국내에소개하는선구적인역할을했다는점은한국근현대문학사에서큰의의라하겠다.또한≪삼천리문학≫에실린박용철의대표적인평론인[시적변용에대해서](1938)는지금도널리읽혀지는시작(詩作)이론이다.이시론을통하여1930년대초반≪시문학≫이기틀을잡는데많은공헌을하였으며,1930년대중반부터는모더니즘과기교주의논쟁에서도순수파의입장을적극적으로옹호하였다.

三行詩 ······················3
나무닢피기전 ·················3
봄에부는바람 ·················4
○ ························6
○ ························8
HappinessRenewed ···············10
나그냇길의아침 ·················12
○ ·······················13
?나가는배 ···················14
밤기차에그대를보내고 ··············16
이대로가랴마는 ·················19
싸늘한이마 ···················20
비나리는날 ···················21
시집가는시악시의말 ···············22
우리의젓어머니(소년의말) ············25
한조각하날 ···················26
사랑하든말 ···················27
仙女의노래 ···················29
哀詞中에서 ···················32
哀詞·1 ·····················34
時調五首 ····················36
마음의墜落 ···················38
哀詞·3 ·····················39
고향 ······················41
어듸로 ·····················43
時調六首 ····················44
斷片 ······················46
＜?은날개＞篇 ·················47
밤 ·······················51
小惡魔 ·····················53
그전날밤 ····················55
希望과絶望은 ··················59
萬瀑洞 ·····················61
비 ·······················63
無題 ······················65
Benobler! ····················66
絶望에서 ····················67
나는네것아니라 ·················68
부엉이운다 ···················69
무덤과달 ····················72
비에젖은마음 ··················74
斷想·1 ·····················75
斷想·2 ·····················77
기다리든때 ···················78
失題 ······················80
失題 ······················81
冬至 ······················82
忘却 ······················83
로?만스 ····················85
센티멘탈 ····················88
새로워진幸福 ··················90
빛나는자최 ···················92
三部曲(夏의部) ·················94
나는그를불사르노라 ··············100
다시 ······················102
두마리의새 ··················104
사티?르 ····················106
유쾌한밤 ····················107
失題 ······················109
失題 ······················110
눈은나리네 ···················112
눈 ·······················113
달밤모래우에서 ················115
어느밤 ·····················116
솔개와푸른쏘 ·················117
하욤없는바람의노래 ··············119
失題 ······················122
좁은하눌 ····················123
너의그림자 ···················124
邂逅 ······················125
안가는時計 ··················126
人形 ······················127
타이피스트孃 ··················128
戀愛 ······················129
눈 ·······················130
Invocation ···················132
祈願 ······················133
試作四首 ····················135
失題 ······················136
失題 ······················139
失題 ······················140
漢詩習作 ····················141

해설 ······················153
지은이에대해 ··················168
엮은이에대해 ··················182

박용철(1904∼1938)은1930년3월자신이창간한≪시문학≫제1호를통해등단한이후약8년이라는짧은기간동안시인,비평가,번역가,극예술인,출판편집발행인의역할을겸한동시에‘시문학’유파를형성하고순수시운동을전개함으로써1930년대한국시문학의초석을마련한인물로평가받는다.실제로박용철은그리길지않은문학활동기간에시창작이외에도≪시문학≫,≪문예월간≫,≪문학≫,≪극예술≫과같은문학잡지를발행하는한편,순수시론의이론화를선도했고또약330여편에이르는해외서정시번역에도집중했으며해외극본을번역하고연극공연에도적극적으로참여하는등시인으로만한정할수없을정도로다양한영역에서활동했다는점에서1930년대한국시문학사의한자리를차지하고있음을부정할수없다.그럼에도불구하고박용철의창작시가다른시인들에비해편수도적을뿐만아니라그의시세계와시론적지표가일치하지않는점,그리고동시대의다른시인들에비해함량미달이라는평가를받고있는점등으로인해그를시인으로평가하는데유보적인입장을취하거나오히려비평가로서의위상이보다강조되고있는것도사실이다.
1930년대는카프문인들로대표되는리얼리즘시론그리고이미지즘과주지주의로대표되는모더니즘시론이경합하는가운데박용철이순수시유파를형성하면서순수시의이론화작업에힘을기울이던시기였다.박용철의순수시론은문학의이념성과기법·기교적측면으로부터거리를둔채순문학의본질적성격에대한탐색으로수렴된다고할수있는데,이는시를시인과현실세계로부터분리된객관적존재물로파악하면서심미적경험의순수성과예술적자율성을지향했다는점에서의의가있다.따라서민족어로서의‘국어’가아닌문학언어,즉‘시어’로서의언어적자각을명료히함으로써일제식민치하에서조선어의시적가능성의기반을마련했다는점에서주목할만하다.