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Lyn Hejinian played a key part in forming and leading Language poetry, the most influential avant-garde poetry since the 1970’s. She refuses to comply with main-stream poetic tradition and its hegemony, and, to realize her denial effectively, conducts a variety of linguistic experiments, and publishes critical theories, while, like most other Language poets, dealing with poetry in a wider context of politics, society, economics, and culture. However, unlike many other Language poets whose voices are often anti-confessional and anti-realistic, she makes use of autobiographical memories and daily details as essential to her poetry. She neither seeks the authoritarian subjectivity nor accepts the idea of organic closure, while not inclined to pursue nonsense or non-referentiality. She revolutionizes lyric poetry, and at the same time, stirs readers’ imagination with her unique lyricism. Her new sentence is supposed to be complete as a unit but defamiliarized with others. In this new sentence and open-ended closure, memory is not confined in a specific time and place but continues to regain its significance whenever evoked repeatedly in ever-changing life. This experimental lyricism makes Hejinian distinct from other Language poets as well as from traditional poets. This paper studies her “The Rejection of Closure”(1983) to look into her view of language, and considers her My Life as an open text where memory, growing to a realm of metaphor or metonymy, provides an implicit vision of life.

History and society as sedimented content remain mediated in the form of art. Experimental poetry in Asian American literature, I argue, is a striking example. Utilizing Theodor Adorno’s theory, to reveal historically mediated relation between the autonomous form and the politics of colonialism in its content, I select poems written by two Asian American poets: Barbara Jane Reyes’ Poeta en San Francisco and Yunte Huang’s Cribs. I will analyze those poems to unfold how form itself politically mediates history and content and how this mediation illuminates the way poetic form of autonomous Asian-American experimental poems subsumes political meaning contextualized with Western discourse and history of colonialism, imperialism, and so on. Through reading closely Barbara Jane Reyes’ Poeta en San Francisco, this paper argues that the more experimental and autonomous a poem becomes, the more readily it can answer to the complex social and historical problems it is located in. Opaque (post) colonial history in Reyes’ Poeta en San Francisco immanently opposes naivete as a means but set it as a goal for the virtual utopian semblance in untimely future. Naive form in poems in Huang’s Cribs is his goal, not his means. The paper concludes that the experimental poems in Asian American literature show the negative dialectics of autonomous form and natural history/social reification in (post)modern society that also expands into the totalizing ideology in (post)modern society where dominance on nature is reproduced on the second nature of people.

Innovative, Innovative methods and techniques try to engage the signifier of the poetic sparks as an open space of polyvalence beneath which the potential signifieds of meaning and signification slide, thereby transforming themselves into sliding signifiers of revolution. This poetic word of revolution, then, becomes the authentic cultural signifier of "openness." History of Canadian literature demonstrates one of the exemplar for the signifying chain of this openness, and we can find the origin of the experimental spirit when we go back and trace the process of defining Canadian literature which was revealed in the history of Canadian literary criticism. My main objective in this paper has been to picture the developmental aspects of duplication and multiplication in contemporary poetry seen from the perspective of Canadian literary criticism. The condition of Canadian culture in the 1970s onwards becomes highly fragmented, defying any construction of a unified national culture. I argue that recent Canadian poetry reflects this fragmentary nature of cultural scene, and that Paul de Man's and Linda Hutcheon's concepts of duplication and multiplication provide a theoretical grid for filtering various kinds of methods and techniques in understanding contemporary poetry in Canada. It is my contention that Canadian poetry reflects the ironic and fragmentary narratives of duplication and multiplication revealed in Canadian literary criticism. Margaret Atwood's and Eli Mandel's poetry reveal the aspects of the duplication of Canadian poetry, by poetizing ironic aspects of human existence and ironic duplicity of language respectively. In contrast, George Henry Bowering and Robert Kroetsch take over what Atwood and Mandel left behind. They investigate the age-old problematics of form and content, and search for the possibility of multiplication in the forms of allegorical displacement, by experimenting fragmentary forms in their poetry, executing postmodern parody, and deconstructing such monolithic traditional concepts of subject, language, meaning, and image. In addition to Bowering and Kroetsch, there are many other experimental poets who also contribute to the event of the multiplicity in Canadian poetry by means of innovation and experiment. They have made every effort to innovate their poetry in the forms of open form poetry, long poems, continuing poems, and concrete poetry including visual poetry and sound poetry.

This paper studies how Stevens demonstrates his poetics of fragmentation, change, process, and improvisation of automatic writing. He uses this poetics to describe life in motion and in change as it is and to keep his poetic form open-ended, tentative and process-oriented. The poet shows the process of his detached meditation casually with drifting ideas; he starts a poem in the middle of some thought or event, progresses a little, and abruptly stops. This experimental poetics makes sentence in broken syntax and incomplete to reflect a process of the poet’s thoughts and feelings as they come and go.

서정주의 시와 산문은 1930년대 중후반부터 1940년대까지 릴케의 영향을 직접적으로 드러내고 있다. 하지만 릴케적인 것은, 서정주의 시세계와 독립적으로 수용되었다기보다는 여러 가지 요소들의 배치 속에서 재구성되는 서정주의 시세계 속으로 통합된 것이라는 관점이 요구된다. 서정주의 릴케 수용은 하우스만의 체험시론을 수용하는 도중에 이루어졌다는 점에서 릴케의 수용은 체험시의 모색이라는 좀 더 큰 맥락 속에서 해석될 필요가 있다. 산문 「시작과정(졸작 국화옆에서를 하나의 예로)」은 한 편의 시가, 거시적으로는 릴케적인 의미에서 일생에 걸친 인내와 무수히 많은 이미지의 축적에 의해 쓰여진다고 하고 미시적으로는 하우스만적인 의미에서 구체적인 한 순간에 3연이 떠오르고, 조금 쉬었다가 1, 2연이 떠오르고, 다시 마지막 4연은 오랜 시간 어렵게 제작하고 퇴고하면서 완성되는 전체로서 쓰여진다고 서술한다. 서정주의 「시작과정(졸작 국화옆에서를 하나의 예로)」은 하우스만-릴케의 절합이라고 할 수 있는 것이다. 릴케의 영향을 수용할 무렵 서정주가 구축해 놓은 시세계의 주조가 무엇인지 그 주조가 릴케와 상호작용하면서 시 안에서 어떻게 재구성되는지 파악할 필요가 있다. 서정주의『화사집』의 핵심은 1938년에 완성되었다고 할 수 있는데 이 세계를 많은 선행연구는 보들레르적인 것으로 보고 있다. 특히 보들레르적인 악마성과 니체의 육체성은 이 안에서 구분되지 않고 이해되는데 이는 섬세한 접근을 필요로 한다. 당대에 쓰여진 서정주 자신의 보고에 따르면 서정주는 보들레르적인 ‘가면’을 쓰던 1935년까지의 시세계로부터 벗어나서 등단 직후인 1936년에 니체의 디오니소스적인 육체성을 탐구하기 시작한다. 서정주의 유명한 연애실패담은 시세계의 이행 과정을 상징적 서사로 주조한 것이다. 「국화옆에서」에는 보들레르의 ‘지성’(가면쓰기)을 거부하고 니체의 육체성을 탐구하던 『화사집』의 세계가 지속되고 있었는데, 그 세부를 들여다보면 『화사집』이 디오니소스적인 육체성을 탐구한 세계였는데 비해서 「국화옆에서」는 아폴론적 육체성을 탐구하고 있었다는 점에서 차이점을 보인다. 「국화옆에서」는 고통과 고뇌 속에서 살아내고자 하는 누님의 의지가 순수시라는 거울을 통해서 자기 자신을 아름답게 변용시킴으로써 올림포스적인 환상을 탄생시키는 이미지라고 할 수 있다. “그 소박함, 즉 가상의 아름다움 속에 완전히 몰입되어 있는 상태에 도달한다는 것은 얼마나 드문 일인가!”라는 니체의 찬탄은 「국화옆에서」를 평가하는 데도 유의미한 척도가 된다. 서정주는 하우스만-릴케의 절합을 통해서 체험시의 거시적인 측면과 미시적인 측면을 종합하려 했다. 또한 하우스만-릴케의 체험시론적 사유를 거쳐서 도달한 「국화옆에서」의 세계는 『화사집』의 니체가 아닌, ‘거울앞에 선 니체’를 보여주었다.

The poetry and prose of Seo Jeong-ju during the late 1930s and 1940s openly reflect Rilkean influence. It is not that what can be construed as Rilkean is a sole inspiration in Seo's poetic world, but that it is integrated in the reconstructing process of the latter, which occurs amidst a variety of elements. Seo had accepted the experimental poetics of Housman, when his embrace of Rilke in an integrating manner came about in the context of a search for experimental poetry. The prose Shijakgwajeong (with the example of my humble work, Gukhwayeopeseo, states that a poem is written, in a macro view, as the result of a lifelong perseverance and the infinite number of accumulated images, while in a micro view a stanza is created at a specific moment to be followed by other two stanzas, with the last one produced and the whole polished and completed over a long period of time. This essay on the theme of his creative process suggests an articulation of Rilke and Housman. It is necessary to comprehend, first, the main element of the poetic world as constructed by Seo himself and the way it interacted with Rilkean poetics, resulting in its own reconstruction. It could be argued that the core of Hwasajib was complete by 1938, and previous studies on the subject have often defined Seo's poetic world as Baudelairean, assumingthe Nietzschean corporeality contained within it to be compatiblet with the Baudelairean evil. Seo, however, had removed himself from his poetic world he had persisted in, with the Baudelairean “mask,” until 1935; by the following year, soon after his debut, his pursuit of Nietzsche's corporeality had begun. Seo's well-known account of failure at courtshipis the process of his carrying out his poetics, recast into symbolic narrative. In Gukhwayeoeseo, the world of Hwasajib, with its rejection of Baudelaire's “intellect” and pursuit of Nietzschean corporeality, continued to dominate. Looked at more closely, however, it reveals a switch from the Dionysian corporeality into the Apollonian. Gukhwayeopeseo can be said to be an image of the birth of Olympian fantasy, a beautification of the will to live through pain and ordeal, through the mirror that is Pure Poetry. Nietzsche's praise of the rarity of the state of immersion in illusory beauty becomes a relevant parameter for the evaluation of Gukhwayeopeseo. Through his articulation of Housman and Rilke, Seo attempted to integrate the macro and micro aspects of experimental poetry. The world of Gukhwayeopeseo, reached through the Housman-Rilke, reflects Nietzsche, not as Hwasajib did but as Nietzsche “infrontofthemirror.”

Objectivism has been considered as occupying a peculiar place in between the periods of modernism and the contemporary poetics of projective verse and language poetry. The emergence of language poets who were interested in such issues as the possibilities of linguistic art has been influenced by objectivism. One such example is Zukofsky, one of the representative poets of objectivism, whose works have moved out from the margin to the center stage. Objectivism and language poets try to interrogate the constructive process of the text and reveal the production of meaning itself by foregrounding the material signifier, and offering meaningless words in order. Objectivism and language poets shift our attention away from the mind’s power to interpret an object or impose meanings on a place where we can compose an “open field” of recognition and writing, where mind, thing, and language exist as objects or creatures of nature and suggest themselves. According to objectivism and language poets, a new poetics of American poetry after modernism comes into being not through such an objectification as “the complete adequacy of the external to the emotion,” but through the continuous process of “thinking with the things as they exist.”

论文把郑敏诗歌属于外在结构范畴的部分，如具像诗、短诗、音乐诗尝试等问题加以简要论述。郑敏对诗歌艺术的探索是多方面的。在内容和形式的关系问题上，她既重视诗歌内容的丰富与刷新，也注意形式的变化与创新。她认为形式与内容是辩证的统一，形式的多样性将有利于增强内容的表现力、吸引力。为此，她大胆探索形式的变革，写出了一些带有试验性质的诗。郑敏诗歌中追求形式的试验诗探索，丰富了诗歌的表现形式，然而试验诗毕竟是一种“试验”，欣赏过其漂亮的一面后，再以批评的眼光，用心去品读时，会发现以下不成熟之处：首先，在郑敏借用中国古典绝句形式的“短诗”里不难看到，在韵律、对仗、遣词造句等方面都与中国传统的基本要求相差甚远。其次，过分追求诗歌的外在形式，淡化了诗歌的主题。再次，因片面地追求形象美，追求视觉的冲击和美感，不利于人们的阅读。所以郑敏的有些实验诗显得很生硬、做作。尽管这种诗歌形式和语言实验还多少有些显得生硬，甚至可能有观念先行的嫌疑，但郑敏毕竟为现代汉诗的形式建设和语言创造提供了一个有意义的探索向度。这也是21世纪中国现代主义诗歌必须继承的特征。试验诗还有待于在实践中不断的完善，从而得以茁壮成长，它更需要人们的了解、宽容与呵护。

이 논문은 1950년대 전후세대 시인들이 겪었던 언어적 정체성의 문제를 살펴보고, 그 과정에서 새로운 언어적 실험을 시도했던 김종삼의 시적 특질을 검토한다. 전후세대에 속하는 시인들의 시에는 불필요한 한자들과 어색한 통사구조, 그리고새로운 문화적 체험에 의해 만들어진 낯선 언어들이 불규칙적으로 등장한다. 이세대에게 모국어로서의 한국어는 매우 낯선 것이었다. 이들은 일제강점기 동안 정규교육 과정에서 한국어 대신 일본어로 읽기와 쓰기를 배웠다. 그러므로 1950년대 시인과 시에 대한 온당한 평가는 당시의 언어적 현실에 대한 구체적인 이해 위에서만 가능하다. 익숙한 일본어와 낯선 한국어를 동시에 사용하고 있었던 이중언어 사용자로서의 그들의 시를 언어적 정체성이라는 측면에서 새롭게 바라보았을 때, 지금까지와는 다른 해석이 가능하다. 그들은 모국어가 사라진 언어적 진공상태에서 새로운 시적 언어를 발견하거나 발명해내는 과정으로 시를 썼다. 1950년대 김종삼은 일본어를 우리말보다 더 잘 아는 비교적 젊은 시인, ‘일본어 세대’에속했다. 그는 일본어의 억압, 한국어의 강제가 요구하는 현실 속에서 시적 언어의가능성을 실험했다. 비록 생경한 외래어와 많은 한자어가 등장하지만 그가 추구하고자 했던 것은 언어의 순수성이었다. 그것은 언술 주체를 시에서 소거하면서 언어 그 자체의 물질성을 훼손하지 않으려는 노력으로 나타난다. 그 결과 언술 주체가 부재하고 언어의 물질성이 두드러지는 그의 시들에서, 하나의 배경에 불과했던것이 특별한 사건으로 인해 의미가 확연해지는 경우를 종종 발견하게 된다.

This paper looks at the issue of the linguistic identity of the post-war generation poets in the 1950s. And this paper examines poetic qualities of Kim Jong-sam who had tried the experiment of the new poetic language in this process. An unwanted Chinese character and awkward syntactic structure, and strange languages which were created by new cultural experience, appeared irregularly in the poems of the poets belonging to the post-war generation. Korean language as a native language was very unfamiliar to this generation. Japanese colonial era, they learned to read and write by Japanese language instead of Korean language in the regular curriculum. Therefore, a fair assessment on poets and poetry in the 1950s are available only on a concrete understanding of the linguistic reality of the time. They are bilingual users who using familiar Japanese language and unfamiliar Korean language at the same time. When we looked their poems in terms of linguistic identity, different interpretations are possible. They wrote a poem as a process that discovered or invented a new poetic language in a state of linguistic vacuum, the disappearance of the native language. In the 1950s, Kim jong-sam belonged to Japanese generation the relatively young poets knows more Japanese language than Korean language. Kim jong-sam was experimenting the possibilities of poetic language in reality required by the suppression of Japanese language, the compulsion of Korean language. Although unfamiliar foreign word and many Chinese character appeared, but he was willing to pursue the purity of the language. It appears while subjectivity of discourse is erased, and does not undermine the materiality of language itself. As a result, subjectivity of discourse disappeared and the materiality of language was stand out. In addition,it was only a simple background, the meaning becomes apparent due to special accidents(Unconcealment accident) often found in Kim jong-sam's poems.

이 연구는 1960년대 동시의 형식 실험을 분석하고, 이러한 형식 실험이 추구한 동시의 현대성과 미학성의 성격을 고찰하고자 했다. 1960년대 동시의 형식 실험을 대표할 수 있는 조유로와 이석현의 작품을 분석하고, 그들의 창작이 개인의 창작론과 창작 지향에 따른 면밀한 실천임을 살펴보면서, 이것이 오늘날 동시 장르에 여전히 유효한 질문과 모색임을 분석했다. 현재 동시 장르의 새로운 형식에 대한 모색은 ‘어린이 독자’라는 아동문학 장르의 대명제 아래서 실험과 전위의 범주가 상당 부분 제한적으로 규정되며 되풀이되고 있다. 따라서 동시의 형식 실험이 가장 전위적이고 광범위하게 일어났던 1960년대의 창작 양상과 의미를 밝히는 일은 단지 특정 시대나 특정 작가의 개별 창작 시도를 문학사적으로 복원하는 데 그치지 않고 2000년대 후반부터 다시 활발해진 오늘날 동시의 창작 실험에 대한 모색과 연결되며 확장될 수 있다.

In the 1960s, several children’s poets introduced various forms in their works the most in the history of children’s poetry in South Korea. Of those, Joe Yoo-ro is incomparable. He tried various forms in his six children's poetry books published in the 1960s. Also, he clarified the underlying philosophy and purpose in the preamble of each book. Therefore, the meaning of his works can be better understood when linked to his purpose and philosophy about creation. The narrative poems of Lee Suk Hyun are also noteworthy. Lee Suk-hyun coined his second poetry book <House of echoes> (St. Paul Publisher), published in 1966, ‘a book of the narrative poems’. Lee Suk Hyun is the representative poet of creating the narrative poems in the 1960s. He also had a clear purpose of the narrative poems as a form experiment. According to the magazines and critics of children’s literature in those days, he took the creation of narrative poems very seriously in the area of the form experiment in children’s poetry, by participating in the discourse of the narrative poems or encouraging other poets such as Park Kyung-yong to create such poems. Therefore, his narrative poems should be also analyzed considering his philosophy about creation. Because the form experiment in children’s poetry has been limitedly repeated under the assumption of ‘children as readers’, the form experiment in the 1960s still contributes to the current creation practices. The examination of the creation trend and its meaning in the 1960s, the era when the form experiment in the children’s poetry was the most radical and extensive, is not just limited to a cultural and historical restoration of a specific era or a specific poet’s individual try of creation. This is related to and expands through the pursuit of the creation experiment in children’s poetry that has been revived since the late 2000s.

This study is related to ‘Experimental Stage for Modern Poetry,’ which was a poetic drama movement around 1980, and focused on comparison and analysis of the performance pattern and characteristics of the plays. The results can be summarized as follows. ‘Experimental Stage for Modern Poetry’ was a poetic drama movement organized in 1979 by eight poets ? Kang Woo-sik, Kim Jong-hae, Kim Hoo-ran, Lee Geon-cheong, Lee Geun-bae, Lee Tan, Jeong Jin-gyu, and Heo Young-ja ? and a folk theater (director Heo Gyu). Their activities were based on plays written by the poets, which were performed at the folk theater. Their main purpose was to overcome the crisis of modern poetry. Specifically, they tried to solve problems with the lack of attention from readers to the enigmatic poems and communicate with the readers while expanding the scope of poetry, which was limited to exclusive text. They performed six times in total from December 1979 until October 1984. Led by Jeong Jin-gyu, six poets including Kang Woo-sik, Lee Geun-bae, Kim Hoo-ran, Lee Geon-cheong, Lee Tan wrote plays and the performance was largely divided into poetic drama and poetry reading. In the latter, a couple of invited poets in addition to the author of the poem participated. In the beginning, they created the stage with enthusiasm and attracted the audience, but, as a result of failing to overcome the unfamiliar format of poetic drama, the experiment was finished after the 6th play. The main reason for their suspension was lack of clear awareness of the identity of poetic drama. As a result, it seems, both the performers and audience were not satisfied. First, as the agent of the performance, they did not properly integrate the characteristics of poetry ad drama, failing to bring out the advantages of poetic drama, which did not satisfy the audience as well. Therefore, their movement was limited to ‘experimental stage’ only and did not reach to ‘establish poetic drama as an independent genre.’In short, ‘Experimental Stage for Modern Poetry’, which did not last for even 5 years, was inspiring for its possibility and also regrettable for not securing sustainability. However, it should be recognized as valuable experience in that some poets tried to overcome the crisis of modern poetry, experimented the expandability of the poetry with some results, and actually experience the integration of poetry and drama. It is also significant that they found the possibility of theater movement, diversification of plays, and integration with similar arts. In conclusion, ‘Experimental Stage for Modern Poetry’ made contribution to expanding the personal and static dimension of poetry, which is delivered through text, into more popular genre through a stage apart from its sustainability.

본 연구는 김종문의 실험적 시세계를 조망하고자 하였다. 특히 전쟁의 영향이 깊숙이 개입하고 있는 그의 초기시로부터 이미지의 실험 양상을 통해 그가 지향하고 구현하고자 했던 이미지를 규명하였다. 1950년대 초기 김종문 시는 주로 전쟁의 참상과 불안의 정서를 이미지로 형상화한 작품이었다. 이때 김종문은 이미지를 조형함뿐만 아니라 이미지들을 충돌시킴으로써 불안의 정서를 극대화시키고 독자의 지적인 반응을 꾀했다. 이를 통해 전쟁의 폭력성에 대한 독자의 반성적 의식을 이끌어내는 것이 『불안한 토요일』에 나타난 이미지의 실험적 효과이다. 반성적 의식은 전쟁의 경험에서 인간의 양심을 이끌어내는 역할을 한다. 『강신제』에서 김종문은 이전의 파편적 이미지의 조합으로 이루어진 시쓰기로부터 ‘완전성의 이미지’로의 실험을 시작한다. 특히 ‘원(圓)’과 ‘빛’이 표상하는 완전성은 김종문이 꿈꾸던 존재론적 ‘자유’의 세계를 나타낸다. 세계의 영원성과 자연의 순환성을 드러내는 무한한 상상력은 이상적 세계로 묘사되는 ‘둥근 것’에 대한 욕망과 더불어 인간 정신의 자유를 나타낸다. 이는 원초적 세계로 진입할 수 있게 하는 역할을 한다. 『강신제』에서는 이처럼 죽음의 현실을 목도한 자가 꿈꾸는 ‘자유’의 관념이 이미지의 융합을 통해 나타난다. 이는 50년대의 치열한 현실에서 비롯된 세계에 대한 긴장이 내면과 실존의 문제로, 다시 우주적 세계에 대한 인식으로 확장되어가는 과정에서 비롯된 시적 실험으로 볼 수 있다.

The purpose of this study is to examine Kim Jong-moon's experimental poetic world. Especially from his early poetry in which the influence of war is intervening, I have identified the image he intended and implemented through the experimental aspect of image. In the early 1950s, Kim Jong-moon mainly portrayed the image of the horrors and anxieties of war. At this time, Kim Jong Moon not only shapes the image but also collides images to maximize the anxiety of the anxiety and the reader's intelligent response. Through this, it is the experimental effect of the image that appeared in ‘An unstable Saturday’ to draw the reader 's reflection consciousness about the violence of the war. The consciousness of reflection plays a role in deriving human conscience from the experience of war. In ‘Gangshinje’, Kim Jong - moon starts experimenting with a combination of previous fragments of images from the poetry to the image of perfection. In particular, the completeness represented by 'circle' and 'light' represents the world of ontological 'freedom' Kim Jong - moon dreams of. The infinite imagination that reveals the eternity of the world and the circularity of nature showed the freedom of human spirit with the desire for 'the round' which is described as the ideal world. It helps to enter the primitive world. In 'Gangshinje', the notion of 'freedom' dreamed by the person who witnessed the reality of death appears through the fusion of images. This can be seen as a poetic experiment resulting from the process of expanding the tension on the world stemming from the fierce reality of the 1950's as a problem of inner and existential, and again a recognition of the cosmic world.

이 글은 18세기 한국한시의 자기발전 과정을 설명하기 위한 각도에서 한시의 ‘실험성’을 주목하여, 이에 도달한 작가와 작품을 집중적으로 검토하였다. 실험성의 검증 기준으로는 작가의 의식, 실천의 정도와 형상, 결과의 창조적 가능성을 핵심 조건으로 삼았는데, 대표적인 사례로 이광사(李匡師), 이용휴(李用休), 유경종(柳慶種)을 찾아낼 수 있었다. 논의의 과정을 통해서는 이광사(李匡師)가 편지양식을 활용하여 진정(眞情) 전언(傳言)의 시적 형식을 시범하고, 이용휴(李用休)가 이지적 깨달음에 기초한 이성의 시적 형식을 마련했으며, 유경종(柳慶種)이 일기의 속성을 확장하여 생활수필의 시적 형식으로 나아갔음을 확인하였다. 세 갈래의 시도가 각각 다른 방향으로 진행되었지만 이들이 모두 삶의 시련과 비극에 대면하여 자기대로의 절실한 시적 형식을 개척해나갔다는 면에서는 공통의 의의를 지닐 수 있었다. 이들은 한시의 자장 내에서 문학의 가치를 더욱 뚜렷하게 보여주었음은 물론 18세기 한국 한시의 질적 깊이와 지평 확장을 시범하였다는 데서 역사적으로 중요한 가치를 창출하였다고 하겠다.