The arguments to be argued in this paper can be divided into two main categories. The first point seeks to present the fact that Kim So-wol constantly revised her own poetry in terms of her experience. This argument presupposes that Sowol gave her subtle changes there so that the number or even spacing of her syllables plays an important role in her own poetry. The second point is conceptual. By demonstrating the importance of the way poetry is presented in Sowol's poetry, I would like to point out that it is a misunderstanding to refer to Sowol and Sowol's poetry as the reducing concept of “folk song poet” and “folk song poem”. Similar examples can be found in Sowol's other poems, but by not using the word "you" in poems such as "Azalea" for example, the poetic technique of the French symbolist poet Stefan Mallarmé "presents absence" This paper emphasizes that Although it is clear that Kim So-wol's poetry is related to Korean folk songs, this paper intends to argue that even Kim So-wol's famous "folk song" is not conceptually encompassed by the term or category "folk-song poetry" in the meaning of "traditional" understanding. . This paper was first presented at the conference “Modernity and Translation in Korea” held at the University of California, Berkeley, where I argued that translators should give important consideration to the details of Kim So-wol's poetry.

(NOTE: Abstract translation by Google Translate)