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Shim Yeon Soo (1918.5.20-1945.8.8) is elucidated as a national poet with Yoon Dong Joo in the age of Japanese ruling. This elucidation is revealed in the 『The Complete Literary Works of the Korean People in China』, Vol.1 (the Literature of Shim Yeon Soo), published by Yenben People's Publishing House in July 2000. Based on this perspective, Park Mi Hyeon of Gangwondo Provincial Daily excavated and reported the materials of his literature. The academic world became interested in his literature through <Academic Symposium of National Poet, Shim Yeon Soo> in his birth place Gangreung and <Revaluation and Position of Shim Yeon Soo> hosted by Korean literature commemoration in Yenben, China. Kim Royng Yoon of Yenben Social Science Institution started to evaluate Shim Yeon Soo's Poems with collecting his original manuscripts and involving in publishing complete works. Kim Royng Yoon divided poetic period with two phase: the early poetry and the latter poetry. He analyzed the early poetry as a poetic flexibility in Shim's Dong Heung Middle school age and the latter poetry as a poetic tremendousness. Since then, Shim's researchers agreed with this slant. But we suggested original manuscript confirmation as a problem on this thesis prior to studying his poems. We examined manuscripts written on his own and found many repeated works through draft, polished and completed steps. We found his eagerness by adjusting poetic language and adding, eliminating, revising and correcting line on his works. While, some researchers couldn't find Shim's works and decide which works are complete works. So we arranged 8 steps causing problems about original manuscripts confirmation and examined some works. We chose and analyzed some original manuscripts which are minimized above problems. His poems are characterized home loss, national consciousness, resistance, and waiting for independence. Such features are part of tremendous quantity. After finishing the original manuscript confirmation, many researchers should collaborate and study deeply.

This study aims to establish the status of national poetry at the end of Japanese imperialism focused on the poetry of Korean-Chinese poet Shim Ryun Soo in China. It is because Shim Ryun Soo's poetic works, found in Yanbian, China in 2000, offer the opportunity to aggrandize the area of national poetry by one stage, which has been centralized in extremely minority poets such as Yi Yuk Sa and Yoon Dong Joo during that time. Therefore, this thesis has examined nationalistic consciousness and that of the times in his poetry focused on Shim Ryun Soo's written from 1940 to 1943. Early poetry written at about 1940, based on poet's individual experiences, represent concrete realities of tragic life imposed upon nation; during his stay in Japan as a student, from 1941 to 1943, his poetry represent penetrating nationalistic consciousness and the spirit of resistance on real undergo that he had to suffer as a young poet of the colonized country in hostile nation Japan. The poetry, especially, including intensive image and symbol of solitude and death, self-reflection through self-discipling and autosuggestion, insight into people's reality, and prophetic prospect for future, is concluded as what furnishes a new prospect for national poetry at the end of Japanese imperialism. In this respect, excavation of Shim Ryun Soo's means new extending destitute dimension of national poetic history at the end of Japanese imperialism, besides expected more diverse and analytic research on his poetry and life.

Through an analysis of the rules of versification of the poems of Sim Ryun Soo, this paper looks into mutual influences between traditional and Sim's poetry. This paper also focuses on the new types of versification rules -as well as their poetic effects- resulted from transforming or breaking out of conventional ones. This is due to the fact that a long and consistent scrutiny into versification rules enabled Sim Ryun Soo to make various forms of poetic achievement. Sim started with the conventional four foot meter, but used variation to create poetic tension by ensemble or by putting one line over another. By combining four foot with three or two, in particular, he got close to the colloquial. Making an active use of three foot, Sim's creativity made rapid progress as can be seen in his tone and in his use of description and confessional narratives. The poet's path reveals a certain change: a belief that poetry has as its basis musicality formed via rules of versification changed to the one that poetry is a rhythm freely expressing thoughts and emotions. As well, picturesque descriptions, plastic images and a satire are harmoniously combined to get close to the modern poetry. The change proves that the poet stuck to the view that poetry is a cubic delineation of picturesque images. Therefore, poetic consciousness in the poetry of Sim Ryun Soo is inclined to break free of fixed rules of versification, and to use free rhythms to build up solidly picturesque poems.

In this essay, I have examined the solitude and the spirit of resistance of Shim Yeon-su's poems, which constitute two most important parts of his poetry world. It has been found that Shim represents himself as a poetic speaker, whose identity has been formed based on the poet's own personality and his personal experiences. I also found that beneath the poet's profound solitude that prevails in the ethos in his works lies a sense of pilgrimage and a deep nostalgia for the betaken mother country. His lingering nostalgia is subtly concretized in such emotional expressions as a miss of the family and affection for woman. On the other hand, in his sense of resistance, the manly passions and the positive world view are strongly represented. Those emotions were probably formed by indirect influences of literary men he read and by the personal connections with fighters for national independence of that period like Yeo Un-heong. Overall, the solitude deeply felt in his earlier days seems to be overcome with the growth of a sense of resistance. Finally, the artistic significance of Shim's poems can summarized to three aspects: First, Shim was a nationalist poet who was agonized by and worried about the fate of the Korean nation and state. Second, Shim's works fill important lacuna made between 1940 and 1945 in the history of Korean literature. Shim was a Korean poet who wrote a number of poems in Korean, although mainly acting in the Manju area. In this respect, in the history of Korean literature, he can be paralleled with such famous resistant poets as Yi Yuk-sa and Yun Dong-ju. Third, consistent with the constitution of the sense of nationhood in Gando area of that time, Shim's works can also be incorporated into a history of Korean-Chinese literature.

The aim of this study is to explore the response of the Korean poetry to the special situation under the Japanese rule in Korea and the aspects of the major Korean poets' views of Nature and life in their poetry during this period through the material 'Nature'. They divided life in their poems into four types: realistic life, aesthetic life, instinctive life, and transcendental life and the properties of Nature in them related to human life are as follows. First, it can be said that the relation between speakers' realistic life and Nature is that these speakers approach to Nature and the reality. The speakers of Kim, So-Wol, Oh, Jang-Hwan, Lee, Yook-Sa, Yoon, and Dong-Ju in their poetry are highly interested in realistic life and Nature. Second, when it comes to the relation between speakers' aesthetic life and Nature in poetry, speakers approach to Nature and try to avoid the reality. Although the speakers of Jung, Ji-Yong, Kim, Young-Ryang, Park, Mok-Wol, and Jo, Ji-Hoon in their poetry are beyond the reality, they are interested in Nature with the aesthetic eye. Third, if we consider the relation between speakers' instinctive life and Nature, there is a tendency that speakers try to escape from Nature and the reality. The speakers of Lee, Yong-Ak, Noh, Chun-Myung, Lee, Sang-Hwa's seem to have in common in that they tend to escape from Nature and the reality and this tendency to escape can be explained from the frustration in instinctive life. Fourth, as for the relation between speakers' transcendental life and Nature, we can see that speakers escape from Nature and approach to the reality. In the case of the poems of Lee, Jang-Hee, Shin, Suk-Jung, Pak, Sok, and Park, Du-Jin, Nature is related to speakers' lives and this is represented as a myth, degradation, fantasy, and ideal.

This essay has examined the sound symbolism expressly developed in Korean and Japanese of the languages of the world, supposing that the sound symbolism in Japanese words are increasing and developing because of the structure of symbolic words itself or internal differences. It explains the degree of sensitivity to language meaning the sound symbolism with the term 'Aug and Dim' which would comprehend abstract senses. Magnitude of sonority in vocalic features is regarded as the reason why the sound symbolic words represent 'Aug and Dim.' The analysis of contrast pair in the sound symbolism which consists of anterior vowels and contrast ones on the standard of initial vowels include following conclusion as: a. Sonority magnitude and sequence in Korean and Japanese vowels coincide with each other. b. A sequence of Aug of the sound symbolism in Korean are systematically sonority, front vowel, and high vowel. c. Discriminating the degree on Aug and Dim and finding its contrast pair are not simple in vowels /ɨ/ and /u/ that have similar sonority differences. d. Aug and Dim of the sound symbolism in Japanese is not greatly influenced by sonority or any particular vowel feature, but the significance for contrast pair is arbitrary. e. The sound symbolism in Korean confronts more regularly vowel sonority and tongue location feature than in Japanese; dividing Aug and Dim is simple in the grade of meaning as well. f. At least, the sound symbolism in Japanese is not regular as the correspondence by sonority of vowel feature. g. Phonological characters of the sound symbolism in Japanese that allows free and subjective expressions could be the factor to make a coined word.

The Scarlet Letter, Hawthorne's first novel, is known as a selfreflective work of his creativity and life. Hawthorne is a novelist who wants to transform his traumas such as his mother's death and his unemployment of Salem Custom House into autobiological works. As he once told in his Notebooks, the characters of his works are created from conflicts between his desire to become an artist and his needs to be a father and husband. The deeper the conflict, the higher his creativity. Each of the four characters in The Scarlet Letter also reflects Hawthorne's psychological change into an artist, which is allegorically symbolized by the initial “A”. The transfiguration of Hester can be said Hawthorne's sympathy of his mother and loving of his wife, Sophia Peabody. Dimmesdale is created by the artistic passion, which seems like sexual emotion. Chillingworth is made of scientific energy towards the human's minds, and even Pearl is born from Hawthorne's concern of his daughter, Una. Hawthorne was bound to acknowledge his true human brotherhood with the Bostonians, regardless of Puritan antipathy and political differences. It is the beginning of writing his first cannon The three market places reveal the writer' creative process of seeing, disclosing and uttering. And the forest scene is also a scene of dialogue. While each setting has an unique protagonist of Hester and Dimmesdale, Pearl and Chillingworth also play a meaningful role as antagonist, who tells to the loving couples to be true. In the meanwhile, Hawthorne also comes near to the identity of an artist in possession of money and fame. Therefore, The Scarlet Letter can be evaluated as Hawthorne's first work showing his literary career. And it is an “Art” itself, which is sprung from non-literary environments of New England.