『京城日報』の三行詩と啄木

초록

This paper deals with the “three-line poetry” which appeared in the literary section of The Keijo Nippo, the largest Japanese daily newspaper published on the Korean Peninsula in the first half of the twentieth century. This poetry appeared over the course of four months from the autumn to the winter of 1919, immediately after the 3.1 independence movement arose. The “three-line poetry” of The Keijo Nippo, which was clearly influenced by Takuboku Ishikawa’s three-line Tanka, could not maintain a fixed Tanka form, nor did it constitute a completely new type of spoken free verse, and it ultimately disappeared from the literary world. However, I have identified how these poems drew on not only the Tankas of Takuboku in One Handful Sand and The Sad Toy, but also on the emotions and figurines that epitomize Takuboku’s work. Furthermore, I also point out that since these poems were created on the Korean Peninsula, they reveal the atmosphere of Joseon by using local proper nouns and unique linguistic elements that convey the distinctive colors of Joseon. Through this analysis, this paper reveals that Takuboku enjoyed a short-lived but distinct period of great popularity, and that around 1919 there was a related but novel poetic departure represented by the “three-line poetry” which appeared in The Keijo Nippo.

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