이 글은 일제 강점기 재일 한국인의 일어시1) 논의에서 제대로 검토되지 못했던 일제 말기 재일 한국인의 일어시를 대상으로 그 다양한 면모를 밝히는 한편 `친일`의 문제를 집중 살펴보았다. 여기에 당시 상당수의 일어시 작품을 일본문단에 발표한 주영섭(朱永涉), 박승걸(朴承杰), 김기수(金沂洙), 김이옥(金二玉), 조향(趙鄕), 성산창수(城山昌樹) 등의 작품들이 주로 논의되었다. 일제 말기인 1940년을 전후로 한 시기에 쓰여진 일어시는 사실 다양한 양상을 띠고 있었다. 먼저 탈관념성과 현실 왜곡이란 관점에서 주영섭, 박승걸, 김기수 등의 일어시를 비판적으로 검토했으며, 고향정서의 시적 형상화라는 관점에서 김이옥의 시를 긍정적인 시각에서 검토했다. 그리고 조향의 일어시가 고향의식을 시 의식의 한 뿌리로 삼으면서 감각적 서정의 세계를 추구하고 있었음을 밝히는 한편 그의 시에 시대의식의 어두운 그림자가 남아 있다는 점도 시<翼(날개)>를 통해 드러냈다. 마지막으로 성산창수의 일어시에 이르러 창작 주체로서 가져야 할 민족적 정체성은 상실되고, 막연한 향수에 빠지거나 반민족적 친일의식에 철저히 물든 모습을 담고 있다는 사실도 반성적인 차원에서 검토했다.

The purpose of this study is to grasp the world of Korean poets` poems which was written in Japanese in Japan at the closing stage of Japanese colonial period, and is to examine how they express the world view in their poems, especially the consciousness of the pro-Japanese and so on. First of all, I insisted that Korean poets` poetry, which was written in Japanese in Japan under the rule of Japanese imperialism, must be included in Korean Literature. At that time, Korean people could not help studying Japanese as the first language with many times in school, and Korean resistants in Japan needed essentially the usage of Japanese to live and study without linguistic inconvenience. So for Korean poets in Japan, the usage of Japanese was required as a practical act of literature. From this point of view, although they used Japanese to express their thoughts, we have to consider that Japanese was the literary means to express their diverse consciousness including the national identity. About and after the 1940`s, many Korean poets acted in Japan and published their works in Japanese literary journals. Ju, Young-seob(朱永涉)`s poems, which were written for a magazine 《Poetic Spirits(詩精神)》, glorified the civilization of science, or meditated the nature, or distorted and caricatured the reality of life. So I can say that his poems lost not only the poetic reality but also their national identity. Park, Seung-geul(朴承杰)`s poems, which also were published in the same magazine 《Poetic Spirits(詩精神)》, showed us the consciousness of anti-civilization, but revealed the wrong idea of national situation of those days. And Kim, Ki-su(金沂洙)`s poems, were written for a magazine 《the Sea of Poems(詩洋)》, had a mount of sensual expression, and were often lost in the longing for unrealistic world and the sentimentalism. The above mentioned poets had the post-ideology and the post-realism in common. On the other hand, Kim, Eui-ok(金二玉: 1918~1945) wrote some poems which were filled with nostalgia on his hometown "Jaejodo". I can say that he sang love songs for Korean people at the crucial period which Korean national identity had been lost. Jo, Hyang(趙鄕: 1917~1984), who was well known as a representative sur-realist after Korean war, published twenty works or more in a megazine (Japanese Poetic circlet(日本詩壇)) under the pen-name of Jo, Whun(趙薰) or Weol Ru Whun(月淚薰). Most of his poems in Japanese were expressed the consciousness of hometown or the sentimental lyricism, and then his poem was a pro-Japanese one which gave a praise of the Pacific War. Sungsan Changsu(城山昌樹) was a pro-Japanese poet who entered upon Japanese literary career from a magazine 《Japanese Poetic circle(日本詩壇)》 with Jo, Hyang. He expressed the obscure feelings of hometown or the anti-nationalism in his poems. We can see the most negative face in Jo, Hyang`s poem and Sungsan Changsu`s poems. Of course, we need to consider that these poems were published under the very oppressive measure on public opinion in those days.