新文學草創期飜譯詩論攷

On Translated Poetry in the Early Period of Modern Literature

A proper appreciation as well as evaluation of translated literature is a necessary approach to modern literature in Korea. For it is apparent that translated literature tells most directly of the manner in which our modern literature has imitated and absorbed foreign literature. As an initial step toward advancing a conclusive argument, this paper attempts to examine the arguments we have had on translated literature with special reference to the genre of poetry. A literary argument lacking such a basic step is likely to become another mirage. 1. One of the common errors in our arguments on translated poetry in the past is that the conclusions were drawn mostly from superficial observations and preconceptions. The conclusion reached on the translated anthology entitled “O’nwe-ŭi Mudo(懊惱의 舞蹈)” (Dance of Anguish) is a good example. Thus far, we have held that the collection of poems is an outcome of second-hand translation, its text being Bin Ueda’s(上田敏) “Kaicho On(海潮音)” (The Tidal Sound). A dose comparison of the two collections, however, would prove that the previous conclusion is misleading. In its first edition, “O’nwe-ŭi Mudo” contains eighty three translated poems. Of them, only four pieces are the same in text as in “Kaicho On.” Needless to go into details, this fact alone suffices to refute the contention that “O’nwe-ui Mudo” relies totally on “Kaicho On.” 2. We have been inattentive also to various works which are related to our translated works. In the case of Byron’s “The Ocean” in a Korean translation appearing in the 16th volume of The Sonyon (少年) (Youth), for instance, it is not very hard to see that the translated poem was the source of “He-esŏ So-nyŏn-ege(海에서 少年에게) (From the Sea to the Youth). First of all, like “The Ocean”, “He-eso So-nyon-ege” is a poem in six stanzas. Moreover, the following similarities between lines cannot be overlooked: (Imitation sound of the tidal waves.) I have nothing to be afraid of. However powerful one may be on land. He flinches before me. Things no matter how big are nothing for me. First Stanza, “He-esŏ So-nyŏn-ege” Roll on, thou deep and dark blue Ocean roll! Ten thousand fleets sweep over thee in vain; Man marks the earth with ruin; his control Stop with the shore; upon the watery plain. Is there anyone who has not bowed to me? Let it be known and come forward! Emperor Chin, Napoleon, are you? Fourth Stanza, “He-eso So-nyon-ege” Thy shores are empires, changed in all save thee-- Assyria, Greece, Rome, Carthage, what are they? From the foregoing, we cannot but feel that “He-esŏ-So-nyŏn-ege” as Korea’s first modern-style poem may have been a parody of “The Ocean.” Nonetheless, this fact has never been pointed out before. It is hoped that such defects will be corrected in our future arguments.