The historical and political events that took place in Korea at the turn of the 19th and 20th centuries were fateful and largely determined the future of the country. In 1876, Japan forced Korea to conclude an agreement with it, which went down in history as the "Kanghwa Treaty", or"Korean-Japanese Treaty of Friendship". Following Japan, similar treaties were concluded with Korea by the United States (1882), England (1883), France (1886) and other countries. After signing these agreements, Korea declared a policy of openness and for the first time entered into contact with foreign powers. This communication opened up the twentieth-century world to Koreans, with its technological and cultural achievements, the latest political and ideological views. The country began to absorb new ideas, scientific discoveries, culture and literature of the West and East at an accelerated pace. Of great historical significance were the "Cape Year reforms" that began in 1894 and proclaimed Korea's renunciation of vassal relations with China. They touched upon the foundations of feudal ideology and politics, morals and law.

Setting goals of democratic transformation in society, educating the people, the reformers for the first time tried to break the shackles of the traditional patriarchal consciousness of Koreans, the ossification of public institutions. The "reforms" radically changed the cultural situation in the country and, together with such factors as the spread of Christianity, the rise of the enlightenment movement, active translation activities, the creation of newspapers and literary magazines, played a huge role in the formation of the new Korean literature and art.

EDUCATIONAL MOVEMENT

The emerging cultural and business relations with foreign countries, especially Japan, gave an impetus to serious changes in public consciousness. The ideas of the Sirhakists-the movement" for real knowledge", which emerged at the end of the XVI century.), as well as the ideas of the Meiji Revolution drawn from the experience of Japan and the thoughts of European enlighteners of the XVIII century. contributed to the birth of the Kemongi undon enlightenment movement in the country, which developed in the late XIX - early XX centuries. Famous writers Choi Nam Sung and Lee Gwang Soo led the movement for new culture, literature and new education, called sinmunhakundon .Their work was warmly supported by the Korean intelligentsia, which became a conduit for everything new and took an active part in popularizing educational ideas. At this time, numerous educational societies are emerging in the country and a movement is beginning to expand the rights of the national language. One of the main tasks is the struggle to oust the Chinese language Hanmun ( Koreized Wenyang) from the social and cultural life of the country,

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for many centuries it has been the language of officialdom and literature. In literature, this process was expressed in the desire of writers to create works only in Korean (both in poetry and prose), to use the forms of a living spoken language and its dialects.

Korean literature, which emerged on the crest of the enlightenment movement, could not develop within the former national forms and artistic traditions. The ideas of the enlighteners, who put forward new concepts of social structure, personality and family, did not fit into the known literary forms, and the so-called new story-shin sosol-appears Chronologically. It covers a ten-year period - from 1906, from the time of the publication of the novel by Lee In-zhik (1862-1916) ("Blood Tears"), until 1917-the time of publication of Lee Gwang-soo's novel (1892-1952) ("Heartlessness").

Outstanding works of this decade were novels ("The Bell of Freedom"), ("Snow on the temples") Li Hezhuo (1869-1927), ("The Voice of the Devil") and ("Silver World") Lee In-jik.

Korean enlighteners have published more than 130 works and transcriptions of foreign prose. "New prose" includes several directions: accusatory, revealing and condemning social vices, tending to loyalty to life's realities, images and situations; didactic (edifying); fantastic (allegorical).

This period of Korean history has been widely covered in the works of well-known historians and orientalists (see, for example: Pak M. N. Nationalism and History (on some features of the nationalist concept in the works of bourgeois historians of South Korea) / / History of Korea in bourgeois historiography, Moscow, 1976; Tyagai G. D. Formation of the ideology of the national liberation movement in Korea, Moscow, 1983). Soviet and Russian orientalists V. I. Ivanova and V. N. Li wrote about the enlightenment movement in Korea and the literature of this period (see: Ivanova V. I. Poeziya pozdnego koreiskogo prosveshchitel'stva (kontsa XIX-nachalo XX v.) / / Literatura stran Dal'nego Vostoka, Moscow, 1979; Li V. N. Koreiskaya assotsiya proletarskikh pisatelei Natsional'nye traditsii i genezis sotsialisticheskogo realizma [National Traditions and the Genesis of Socialist Realism], Moscow, 1965.

POETRY OF THE 1896s-1908s.

Korean hanmun poetry, which included the traditional genres of Sijo (XIV), kasa and others, gradually disappeared during the enlightenment period, and a new poetic genre was born - changa, which existed in the literary arena from 1896 to 1908. It consists of short poems-songs that originated under the influence of Japanese educational songs popular during the "freedom and people's rights movement". By promoting the benefits of modern education, technological advances, a new culture, the fight against the remnants of the past and social inequality, the praise of freedom and patriotism, Korean educators tried to involve all social strata in this movement, making efforts to modernize it and affirm democratic values. And this was a hitherto unprecedented phenomenon in a traditionally patriarchal society, where there was a strict hierarchy of classes, ranks, etc.

Despite the wide thematic range of Chang's songs, each of them set a specific task and suggested ways to solve it. The performance of these songs has become widespread and has become an integral tradition when holding various meetings in numerous educational societies, schools, and rallies. Chhanga could be performed to Western European music, but some of them remained pro-

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a hundred verses were not sung, but some had the property of both songs and poems. The poetry that existed before Chang was introduced was called "old Korean poetry", and the genres that existed before it were called traditional.

As a new poetic genre, changa has played the role of a transitional form from old Korean poetry to modern poetry. The total number of these songs is unknown. Many of them existed in oral form, and only a small part was published. The literary critic Shim Myung Ho mentions 300 changs that he counted in Korean periodicals of these years. It was thanks to Chang's songs published in Korean newspapers that literary critics had the opportunity to explore them. At one time, educators realized that periodicals can become an important tool in popularizing new ideas. They were very active in using newspapers and magazines that could quickly and widely spread educational ideas and thereby gain popularity among the population of the country. Nezavisimaya Gazeta, which was published under the leadership of Seo Chang Il, one of the leaders of the new culture movement, played a major role in this case. The first educational songs were published in it. After the Nezavisimaya Gazeta, Chang's songs were published by other newspapers.

In her works devoted to the poetry of the Korean enlightenment, V. I. Ivanova covered theoretical issues and made the first translations of these songs.

The next stage in the development of poetry was the birth of a new style of poetry-shin xi , which arose under the influence of the new Japanese poetry shintaishi. Its founder in Korea was the poet Choi Nam Sung. Unlike Chang, the new style poems were no longer sung.

The enlightenment movement in Korea was opposed by the poetry of the "Justice Squads" Yiben , which arose after the declaration of the Japanese protectorate treaty over Korea in about 1905. Poets-enlighteners composed poems in their native language, and poets of the "Justice Squads" - in Hanmun. The creators of this poetry were rebel leaders who called the people to arms and fight for Korean independence. The poet and scholar Choi Ik-hyun (1833 - 1906) wrote a famous poem ("I think alone about fourteen poems composed in a Japanese prison"), Liu Rin - seok (1842 - 1915) - ("To the Rebels of the Justice Units"). The poet Hwang Hyun (1855 - 1907) in his poem ("Breaking with life") created the image of an ideal ruler and his subject, loyal to the interests of the state. Kim Tae - kyung's poem (1850-1927) ("After hearing about how the rebel leader Ahn Joon-geun avenged the state") is similar. In the Korean historical and literary process, this poetry completes Hanmun fiction.

In the section "Poetic creativity of leaders of Justice Squads" of the monograph "New Prose of Korea" (Moscow, 1987), V. I. Ivanova gives biographical information and samples of poetic creativity of leaders of this movement.

POETRY IN 1918-1929

In 1910, Korea lost its independence and, by a treaty of August 22 of the same year, became a vassal of the Joseon General Government of Japan. The main task of the occupation regime was to suppress the national identity of Koreans. National culture, literature, and art were subjected to particularly sophisticated forms of persecution. The colonial policy of the Japanese, naturally, caused a wave of indignation, anger and resistance in all strata of society. The most powerful anti-Japanese movement was the March 1, 1919 demonstration, which lasted for two months. Its organizers announced to the people a declaration demanding the independence of Korea from the Japanese Empire.-

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rialism. The text of the declaration was compiled and signed by 33 of the most famous public and political figures, representatives of the intelligentsia. The movement has become nationwide in nature. The colonial authorities brutally suppressed it, and the initiators and active supporters were subjected to imprisonment and persecution. Many prominent cultural figures who had campaigned for the freedom of the motherland in the ranks of the demonstrators were jailed or forced to emigrate. Among them were poets Choi Nam Sung, Han Young woon, Lee Gwang Soo, and others.

The events connected with the anti-Japanese movement of March 1, 1919, had a great influence on the further development of the literary process. They were the impetus for the emergence of modern literature and for contemporaries. The "May Day" movement became the historical watershed, the dividing line that stood between enlightenment literature and new literature in spirit, form and content. The development of Korean literature in the early 1920s was closely related to, and even influenced by, new Japanese literature. Its main feature was the active borrowing of new artistic trends in Western literature - romanticism, symbolism, naturalism, realism, etc. Japanese literature played the role of a mediator and interpreter of the theoretical provisions of new artistic trends and trends in Korean literature. This was a natural process, since Japanese literature had already started to master Western innovations and already had the experience of successfully introducing them to the national soil.

The opportunities that opened up after the "reforms" for Korean youth to study abroad, primarily in Japan, and to learn foreign languages helped many of them to expand their literary interests and get acquainted with the works of Western European literature in Japanese or in the original language. After the defeat of the "May Day" movement, an atmosphere of deep disappointment, disbelief and apathy reigned supreme in the minds and souls of Koreans. The country was going through this difficult period of its history dramatically. A deep moral and psychological crisis contributed to the emergence of decadent literature. The works of this period are united by a common spirit of hopelessness and pessimism, which were in tune with the inner, spiritual state of the individual and the atmosphere of Korean society. The new poetic groups and associations that appeared on this wave mirrored the internal processes that took place in the public consciousness.

In 1918, under the editorship of the famous poet and translator Kim Ok (Ahn So), the publication of the Bulletin of Western Literature and Art began. This is the first Korean magazine that translated and popularized Western European literature, as well as published works by Korean poets.

Created by Kim Dong-in (1900-1951) in 1919, the group ("Creativity") It became one of the first poetry associations to appear in Korea during these years. The list includes Joo Ye Han, Jung Yong Taek, Kim Hwan, Kim Dal Ho, Kim Ok, Kim Chang Young, Kim Hwa, Lee Il, Lee Gwang Soo, Park Seok Yoon, Oh Chung Seok, Choi Seung Man, Im Jang Hwa, and others. While studying in Japan, they became acquainted with the works of Zola, Maupassant, Tolstoy, Turgenev, Dostoevsky, and Wilde (mostly in Japanese translations). The members of this group did not have a single aesthetic platform. The magazine "Creativity" published by them, which existed in the literary arena from 1919 to 1921, was not limited to publishing only a few issues, which was typical for literary periodicals of those years.

At the same time, symbolism was emerging in Korean literature. The ideas of French symbolism were in tune with the spiritual state of the Korean intelligentsia, which it experienced after the defeat of the" May Day " movement. She found many similarities in the social atmosphere of modern Korea and the crisis in French society after the defeat of the revolution in the 1870s. The dog-

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The simistic spirit of the works of French symbolists made a great impression on Korean writers. The same feelings of disenfranchisement, humiliation and helplessness possessed their souls, they were brought together by the same tragic view of the world. The poetry of the French symbolists expressed this extreme degree of oppression of the human spirit, which ignored modern reality. The Japanese were the first to discover European symbolism. Japanese literature became an intermediary that introduced Korean writers and students to symbolism. Following the Japanese writers, Korean symbolists organized their own group ("Ruins"). The list includes Kim Ok, Nam Goo Baek, Lee Hyun Ro, Kim Yong Hwan, Na Hae seok, Min Tae Won, Kim Chang Young, Yom Sang Sop, Oh Sang Sun, Kim Won Joo, Lee Byung To, and Hwang So Koo. In 1920, Kim Ok, who had already become a well-known poet and translator, headed the magazine "Ruins", which became a refuge for artists who were disillusioned with modern reality, were at the mercy of their oppressed state, passively contemplated the world around them, full of tears, longing, sadness. It turned out to be short-lived - only two issues were published.

Romanticism has become a significant phenomenon in the history of modern Korean literature. Like symbolism, it was one of the first artistic trends that came to Japanese literature from the West. The literary community enthusiastically read the works of Byron, Shelley, Heine, Hugo and many other Romantics, who were actively translated into Japanese by famous writers and poets. For the first time, an open apology for Romanticism was made from the pages of the Japanese magazine "Cigarami Josi" ("Dam"), published by Mori Ogai. The poetry of Japanese Romanticism covers the period 1882-1904, and when Korea was discovering this new direction, it had already left the Japanese literary scene.

The ideological-aesthetic, artistic principles of romanticism were first embodied in the works of Korean poets who formed the group ch!2: ("White Tide") in 1922. The list includes Heun Sa Yeon, Noh Cha Yeon, Park Jung Hwa, Na Do Hyang, Lee Sang Hwa, Oh Jung Seok, Lee Gwang Soo, Park Young Hee, and Hyun Ji Gun. Korean Romantics published one issue of the magazine"Rose Village" in 1921 and three issues of the magazine "White Tide" in 1922.

In the 1920s, interest in national poetry was revived in Korean literature. Traditional genres (sijo, minyo, casa), poetics, metrics, imagery of old poetry have found a second wind and have become popular thanks to the works of outstanding poets Kim So Wol, Choi Nam Sung, Han Yong un and others. Keeping true to the traditional forms, the poets tried to put new content into it, which could most fully reflect the time and events, express the thoughts and aspirations of contemporaries, their desire for freedom. This was the innovation of the adherents of traditional poetry. It acquired a powerful patriotic sound during the years of the Japanese occupation. The parallel development of traditional forms of poetry and new trends of poetry in Korean literature in the 1920s was explained by the inevitable and objective consequence of its accelerated development. Korean literature, having come into contact with European and Russian classics, as well as with modern foreign works, simultaneously took what the West lived at the moment, for example, symbolism, and what for it was a historically passed stage, for example, Romanticism. But this situation was typical for many "closed" literatures, in particular Chinese.

The rapid poetic activity of various groups and circles contributed to the development of literary and artistic periodicals, the emergence of new magazines. Reflecting the development of various literary movements, it began to play a prominent role in the cultural life of the country. Despite the fact that the number of publications increased from year to year, their existence was mostly short-lived, sometimes only a few issues. However, such a large number of periodicals are not available until

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I never had that time. The journal "Bulletin of Western Literature and Art", established in 1918, topped the list of these publications.

Each of these magazines united a circle of writers around itself. Although these groups claimed creative independence and independence, in their practical activities they, in fact, did not differ from each other. The creativity of their participants was imbued with the spirit of decadence and pessimism.

The 1920s were also marked by a rapid surge of poetry publications. About 20 poetry collections have been published, 16 of which represent the work of individual poets, and the rest are made up of works by different authors. List of the most famous opens the collection ("Medusa's Song") Kim Oka (1893 -?). Published in 1923, it was the first collection of contemporary Korean poetry to appear since the country's opening to the outside world in the 1880s. Around the same time, the collection ("On the spring grass") Cho Myung-hee (1894-1942). It was followed by a collection published in November of the same year ("Flame of Ruins"). edited by Lee Se-gi. In 1924, three collections of poems were published in Korea: ("The Secret Melody of a Dark Room") Park Chung-hwa (1901 -?), ("The Soul of Korea") Byung Yong Ro (1898-1961) and ("Beautiful Dawn") Chu Ye Han (1900 -?).

In 1925, five collections of poems were published: ("Night of the Border") and ("Youth Ascending to heaven"). Kim Dong-hwan (1901 -?), ("Fruits of Life") Kim Myung-sung (1900 -?), ("The Song of Spring") Kim Oka and the famous collection of classics of modern poetry by Kim Jung-sik (Sovol) (1902-1934) ("Azalea"). A notable event in the country's literary life was the collection of Han Yong-un (1879-1944) ("The Silence of the Beloved"), published in May 1926. In October of the same year, a collection ("Selected Poems of Korean Poets")is published edited by Jo Tae-young. In the same year, a collection of sijo ("One Hundred and Eight Torments")was published Choi Nam Sung (1890-1957).

The next two years are marked by the publication of only two collections: ("Gift of the dark room") Kwon Goo Hyun (1902-1937) and ("When My Soul Is on Fire") Noh Cha-yeon (1898-1940). In 1929, the Korean reader was able to get acquainted with five poetic publications: ("The Girl's Wreath") Noh Cha-yeon, ("Collection of Anso Poems") Kim Oka, ("A Collection of poems by one Hundred Young Poets") Edited by Hwang So Koo, ("Collection of Poems and Songs") Kim Dong Hwan yi ("Hymn to Nature") Hwang So Koo (1895-1958).

Poetry works were also actively published in magazines. A special place among them belongs to the magazine ("Beginning of an Era"), which over the years of its existence (1920-1926) produced 72 issues and published about 500 poems, and the magazine ("Korean Literary Circles") (1924-1927), which produced 20 issues, where 500 poems were published. The rest of the magazines lasted for a very short time, with a total of approximately 200 poems published.

The appearance of a number of talented poets and translators in the early 1920s, as well as the publication of a significant number of poetry collections, indicated that new poetry was becoming a fact of genuine art. The emergence of poetry groups indicated the desire of Korean poets to unite on the basis of the unity of worldview and artistic principles of creativity, which was also a completely new phenomenon in Korean literature.

REALISTIC AND PROLETARIAN LITERATURE

In the 1920s, the formation of realistic and proletarian literature took place. In terms of its scale, organization, and popularity, Proletarian literature

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it is comparable only to the literature of the enlightenment period. It has passed several stages on the way of its formation and development. The first propagandists of proletarian literature were Song Yong, Lee Jok Hye, Kim Yong Phal, Lee Ho, and Kim Doo Soo, who organized a new group (Iskra) and a magazine of the same name in 1922. During the year of its existence, two issues published in 1923 included short stories by Song Yong ("Poplar Flowers") and poems by Lee Ho and Park Se Yong.

In 1923, Iskra disbanded and merged with the White Tide group to form a new literary association called Phaskyula, which marked the beginning of the next stage in the history of Korean literature. The name of the group "Phaskula" is made up of the Latin transcription of the initials of its members. It did not have its own program and adopted the theses proclaimed in the Iskra program. Despite this, the work of its members did not have a pronounced proletarian character, but set as its goal the creation of literature "useful for the common people." The "Phaskula" includes writers Lee Jok-hyu, Lee Ho, Kim Ho-pha, Park Yong-hee, Kim Ki-jin, Lee Ik-sang, Kim Bok-jin, Ahn Seok-young, Kim Hyun-won, Jang Hak-young, and Tu Moon-ja. Later they were joined by Choi So Hae (1901-1932), Lee Gi Yong, Cho Myung hee, Song Yong (b. 1903), Park Se Yong (b.1902), Na Do Hyang (1902-1927), and Lee Sang Hwa (1900 - 1942).

Prominent poets Lee Sang-hwa and Cho Myung-hee, as well as other members of Phaskyul, sought to reflect the life of the lower classes of Korean society in their works. The central theme for them was the disenfranchised individual, the difficult situation of the people, and class inequality. They painfully convey pictures of the dark and ugly reality, the tragic doom of ordinary people's lives. This movement is known in Korean literature as the "new direction school". The works of the members of "Phaskyula" were published in magazines ("Korean Literary Circles") and ("Beginning of an Era").

Articles by well-known Soviet and Russian Korean scholars are devoted to the creative work of the members of "Phaskyula". They provide a detailed analysis of the works created by the members of Phaskula, many of which have been translated into Russian.

In August 1925, the Communist Party of Korea was established underground, and at the same time, for the first time in the history of Korea, an extensive writers ' organization was formed - the Korean Association of Proletarian Writers (KAPPA). It was the third and final stage in the development of Korean proletarian literature. The core of the association was made up of students from the "new direction school" Park Yong-hee, Kim Phal-bong, Lee Ho, Kim Yong-phal, Lee Ik-sang, Park Yong-dae, Lee Jok-ho, Lee Sang-hwa, Kim Eun, Kim Bok-jin, Ahn Seok-yeon, Song-yeon, Jo Si-il, Sim Dae Sop, Jo Myung hee, Lee Ki young, Park Pha Ryang, Kim Yang, and others. For the first two years, the Kappa team relied on the theses proclaimed by Iskra members. This emphasized the continuity with the previous stage of the proletarian literary movement. Theoretical propositions of the new art, as well as works by proletarian writers and poets, were published in the pages of magazines ("Battle Banner"), ("Movement for Art"), ("Collective"), ("Beginning of an Era"). In their propaganda activities, the Kappovites covered not only the theory and aesthetics of proletarian literature, but also Marxist ideology in general. The Korean reader needed to explain such concepts as" society"," classes"," class culture","class struggle".

Proletarian poets Park Se Yong, Park Pha Ryang, Lim Hwa, and Kim Chal Sul created works imbued with the ideas of class struggle and sought to awaken class consciousness among the masses.

All the activities of proletarian writers from the beginning of the 1920s were aimed at achieving a dominant position in national literature. From this moment begins the long-standing confrontation between the proletarian and bourgeois revolutionaries.-

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by various writers. In the 1930s, the ideological confrontation between proletarian writers and representatives of other artistic trends reached its apogee and acquired a rigid ideological character. At this stage, the discussions mainly concern the creative work of proletarian writers. The main opponents and ideological opponents of proletarian literature are well-known Korean writers Lee Gwang-soo, Kim Dong-in, Choi Nam-sung, Liang Joo-dong, Yom Sang-sop, and others.

The ideological controversy between the two opposing camps in Korean literature of these years is covered in articles by V. N. Lee devoted to the formation of proletarian literature in Korea.

POETRY OF THE 1930s AND 1940s.

Korean poetry of the 1930s and 1940s developed in the context of the variety of ideological, aesthetic, and artistic trends that were already established in Korean literature and art. She used the artistic achievements of previous decades and gained a qualitatively new level. In the 1930s, the following works were published: ("Collected Poems of Kim Yong-nan"), ("Poems of Chung Ji-yong"), ("Weather Map") Kim Gi Rim, ("Dream") Kim Gwan Sopa, ("Hyeonghyathan Strait") Lim Hwa, ("The Mottled Snake") Seo Jung Joo, ("Selected Poems of Sowol") Kim So Volya ed. Kim Oka, ("Selected Poems of Cheon Ma") Yoo Ji-hwan, ("Customs of the Sun") Kim Gi Rima, ("Naktogan River") Kim Yong Ho (1912-1973).

Korean poetry of this period is conventionally divided into three major streams: poetry of the latest trends, which can include the work of symbolists, romantics, modernists, and surrealists; poetry based on national traditions; and proletarian poetry.

The first direction includes the work of such groups as ("Poetry"), ("Poetry of Life"), works of modernist poets and surreal poems by Lee Sang. Poeziya Group, which appeared on the literary scene in the 1930s, continues the traditions of Korean romanticism laid down by the White Tide group in the 1920s. However, this romantic poetry is markedly different from the poetry of the previous period. The work of Poetry members Kim Yong-nan, Park Yong-chol, and Jung Ji-yong gives an idea of the ideological and artistic guidelines of the new poetic association, whose supporters are attracted by the creative innovations of 18th-century English Romanticism. the so-called "ozernikov" school represented by its well-known representatives Wordsworth, Coleridge, and Southey. Kim Yong-nan and Park Yong-chol promoted their aesthetic views on the pages of the magazines "Poetry", ("Monthly of Literature and Art") and ("Literature").

The group's work ("Poetry of Life") also traces its roots to the symbolist poetry of Kim Ok and Hwang So Koo. It was formed in 1937 through the efforts of famous poets Ham Hyun-soo (1916-1945), Oh Chang-hwan (1916-1967), Seo Jong-joo (1915-1967), and Yoo Ji - hwan (1908-1967).

The work of the poets of this group developed under the noticeable influence of French symbolism, in particular Verlaine, Baudelaire, and Valerie. They expressed the sentiments of that part of the Korean intelligentsia of the 1930s, who were close to and understood the motives of despair, longing, loneliness, and disbelief in man inherent in French symbolism. Their poetry, imbued with decadent moods, was particularly popular and in demand in society.

One of the outstanding achievements of Korean poetry at this time was modernism. He discovered new concepts of artistic creation, characterized by an extremely pessimistic vision of the surrounding reality, painful

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the artist's reaction to the conflicts of the modern world and human problems. It was the poetry of the chosen because of the complexity of not only the inner idea, but also the narrative form, which increased the sense of inaccessibility and elitism of its art, and it became one of the artistic opposition to the poetry of traditional forms. The first followers and popularizers of modernism in Korea were the poets Jung Ji-young, Kim Ki-rim, Kim Kwang-kyun, Jang Man-young, Lee Sang, and others. They did not create their own poetry group, but their works were widely published in magazines (Sad Poezii) (1935), (Poeticheskaya Literatura), ("Poeticheskaya Literatura").Three thousand li " 1929-1940), ("Village of Poets") etc.

Modernist poetry provoked a sharp reaction from followers of other artistic trends, but Lee Sang's surreal poems were particularly criticized. Despite numerous discussions about the shortcomings and merits of modernism, it played a significant role in shaping the new image of literature.

Famous Korean poets advocate for the revival of traditional poetry. Ancient legends and traditions were re-heard in Kim So Wol's poems, and Han Yong Un's philosophical lyrics reveal the Buddhist concept of the universe, being and man.

The poems of Lee Yuk - sa (1904-1944) and Yoon Dong - joo (1917-1945) are referred to by Korean literary critics as"Anti-Japanese Poetry". Patriotic poetry in modern literature had its own rich history and was associated with the work of poets of the "Squads of Justice", who actively fought against the Japanese invaders in the 1905 - 1910s.and the poems of other poets. The poetry of Lee Yuk Sa and Yoon Dong Joo is an example of philosophical, landscape, and love lyrics. These poets died in the dungeons of Japanese prisons, which caused a special interest in their life and work. The works of Lee Yuk Sa and Yoon Dong Joo, read through the biographies of the poets, allow us to speak about their anti-Japanese orientation and refer them to the best examples of Korean lyrics of the 1930s-1940s.

Proletarian poetry flourished in the early 1930s. The work of poets Lee Sang-hwa, Cho Myung-hee, Park Pha-ryang, Lim-hwa, Park Se-yong, Lee Jong-gu, and Chu Sung-bong, as well as other proletarian cultural figures who were part of the KAPPA, was characterized by sharp social criticism of modern society and ardent anti-Japanese agitation. Calls for the liberation of the Motherland are heard in almost all the works of KAPPA members. The main character of proletarian poetry is a fighter armed not only with a rifle, but also with new ideas aimed at transforming modern society, establishing social justice and fighting for equal rights of all working people. Proletarian poets published their works in magazines ("Korean Literature"). and ("Literature and Art").

In the poetry of all the above mentioned associations the dominant position is occupied by the form of free verse chau si

The activity of proletarian poetry, as well as all proletarian literature, proceeded in an atmosphere of acute ideological struggle with representatives of other trends and groups, with followers of the so-called pure art. During these years, the Japanese occupation authorities increased their terror against the proletarian movement. After the KAPPA crackdown, proletarian poets become outlaws and are forced to stop their creative activities.

The work of poets Park Tu Chin, Cho Ji Hoon, and Park Mogul became a significant phenomenon in Korean poetry in the 1940s. They created a group ("Blue Deer") in 1946 and in their works sought to revive the spirit and traditions of national poetry, its poetics, imagery. Their work was aimed at making the poetry of traditional forms sound as modern and fresh as the fashionable ones in those years.-

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graphic, symbolist, and modernist poems. The merits of the "Blue Deer" poetry were indisputable for contemporaries already because they came from a deeply national culture and its traditions, which, of course, gave it another quality - patriotism.

In the 1940s, the following collections were published: ("Collection of poems of An So") Kim Oka, ("White Deer Lake") Jung Ji-young, ("Cuckoo") Seo Jung Joo, ("The Sea and the Butterfly") Kim Gi Rim, ("Blue Deer Anthology"), ("Green Star") Park Mogul, ("Shadow of the Lamp") Kim Gwang-kyun, ("Poems of Yuk Sa") ed. Shin Seok Jo, Kim Gwang Kyuna, Lee Won Jo, ("Sick Seoul") Oh Jang Hwan, ("Anthem") Lim Hwa, ("Breaking Dawn"), Kim Oka, ("Book of Life"), ("Temporary Shelter") Kim Gwang Kyun, ("Where I Live") Oh Jang Hwan, ("Violets") Lee Young Aka, ("Reed Flute") Kim Sang-oka, ("Ullungdo Island") Yoo Ji-hwan, ("New Songs") Kim Gi Rim, ("Sky, Wind, Stars and Poems") Yoon Dong Joo, ("Minyo Compilation") Kim Oka, ("Selected Poems of Yong Nan") Kim Young-nan, ("Dragonfly's Diary") Yoo Ji-hwan, ("The Sun") Park Tu Jin, ("Melodies of the Old Garden") and ("Verses of the Apostate") Kim Sang-oka.

The literary periodicals of this time remained the scene of an ideological struggle that took place between representatives of proletarian literature, traditional and supporters of pure art, who created under the slogan "art for art's sake".

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