This paper is aimed to study in which Youngrang's creative writing motto was rooted since he made his debut in the literature world through 「Poetic Literature」and 「Literature」, referring to critical views in 1930s and the modern views. For this, I collected the related materials and arranged them and I have maintained a critical view on the basis of the reliable materials. Critical materials on his poetic world in 1930s were only like this; comments on current review, a general review, a monthly review, a brief review, and book review. However, considering his lyrical spirit, they were not sufficient in the depth and width. Accordingly, as I mentioned earlier in Introduction part, I must admit that criticism on his works in 1930s to 1950s were significantly different from academic criticism since 1960s. In addition, I would clarify the fact that this study was not accomplished for summarizing and arranging of the history of criticism, but for emphasizing of the following three aspects.
First. Youngrang was alienated from the central literary circles, lie wrote his works actively since he made his debut, but he was devaluated and alienated by the central literary circles. At that time the reason for such alienation was thought that be maintained a negative attitude about the political problems of literary circles, and was absorbed in pure lyric poetry. However, I think the main reason was that the central literary circles intentionally excluded local literary men, and in addition to that, because of the closeness of the literary circles, they did not embrace his pure lyric world.
Second, after 「Youngrang Anthology」 was published, analysis and evaluation on his works were done by several literary men. Previous chapter is about criticism of 1930s while this chapter is about that of the following period in which his first anthology was published. The reason I mentioned the difference of the time is that his poetic literature was not variously discussed until that time. He made his debut in March, 1930, and nine months after his works were introduced in Lee Hayun’s 「Literary Circles in 1930」 for the first time. In addition, individual discussion was officially done by Park Yongcheol through his writing「Reflection and Criticism on Poetic Circles in I931」 in December, 1931. After that he had been completely alienated until 「Youngrang Anthology」 was published. The writings of Lee Hayun, Jeong Jiyong, Park Yongcheol, Park Gwisong, Kim Kwangseop, Lee Wonjo, and Yun Kongkang are the representative examples, which belong to very much of a hook review or impression criticism.
Finally, the succession and development of Korean lyric poetry were accomplished by Kim Youngrang. This chapter included the previous two chapters much. Because the subject of this chapter could support the fact that he was alienated from the central literary circles and analysis and evaluation on him were done in the later times. It was the main flow in the history of criticism. However, I focused on this; whether to admit or not the fact that the succession and development of lyric poetry were accomplished by Younyrang, who was called ‘an apostle of Muse.’ This issue was verified by several arguments that I referred to.
I had argued in my previous paper titled 「Study on Youngrang Kim Yunshik」 that there were many traces of national emotion, hometown, and nature in his poetic literature in 1930s. That opinion had been derived from the result of the exact study on the history of criticism. Regardless of the fact, the most important thing is that his poetic motto was based on lyricism and his works which created on the basis of that motto do not disappeared until now.
Therefore, I believe that my critical viewpoint showed in this paper should be confirmed and discussed; and furthermore it should be revised and supplemented by other materials.