??? ?? ??? ??? ?? (A Study on the Tragedy of Kim Yeong-Rang's Poetry)

The purpose of this study was to investigate the tragic characteristics of poetry of Kim Yeong-rang(1903~1950), who is known for his descriptions of the beauty of the mother tongue in utmost density in the 1930s. He succeeded in overcoming the limitations with the Pyeonnae-oriented works and sentimental works heavily inclined toward romanticism in the poetical circles in the 1920s.
The tragedy found in his poetry first derives from his denial of notions and represents the efforts for the ego to perceive a new reality and change itself. In a transitional period between pre-modern and modern, he witnessed the more solidified suppression by the ruling Japanese than in the 1920s. Tragedy reaches its paramount in his poems when he is frustrated with the reality of violent suppression. Secondly, there is tragedy in the limitations of general being. The ego is separated from reality when it is overwhelmed by the anticipation that it will face reality and be defeated by it. Thus the anticipation expands to a sentiment that all beings are tragic. Finally, his tragedy originates in his pursuit of transcendental self-conquest. In his poetry, tragedy is maximized as he admits that the world is beyond change, yearns for a transcendental world, and realizes that it is hardly possible, either.
The study finds its significance in that it has built a basic framework to show what realistic coping strategies he took in his confrontations with the reality of the 1930s, which was not covered in the previous studies on his poetry.

The purpose of this study was to investigate the tragic characteristics of poetry of Kim Yeong-rang(1903~1950), who is known for his descriptions of the beauty of the mother tongue in utmost density in the 1930s. He succeeded in overcoming the limitations with the Pyeonnae-oriented works and sentimental works heavily inclined toward romanticism in the poetical circles in the 1920s.
The tragedy found in his poetry first derives from his denial of notions and represents the efforts for the ego to perceive a new reality and change itself. In a transitional period between pre-modern and modern, he witnessed the more solidified suppression by the ruling Japanese than in the 1920s. Tragedy reaches its paramount in his poems when he is frustrated with the reality of violent suppression. Secondly, there is tragedy in the limitations of general being. The ego is separated from reality when it is overwhelmed by the anticipation that it will face reality and be defeated by it. Thus the anticipation expands to a sentiment that all beings are tragic. Finally, his tragedy originates in his pursuit of transcendental self-conquest. In his poetry, tragedy is maximized as he admits that the world is beyond change, yearns for a transcendental world, and realizes that it is hardly possible, either.
The study finds its significance in that it has built a basic framework to show what realistic coping strategies he took in his confrontations with the reality of the 1930s, which was not covered in the previous studies on his poetry.