The research on Park In-whan and his poems so far has resulted in considering his works as the transitional tendency, which contained the limitations of postwar modernism, including excessive sentimentalism, superficial affect, depression, and nihilism. While it is true that Park’s poems of his early days generally showed “realistic political nature”, discerning or appraising the overall characteristics of Park’s poems based on the poetic transformation of a limited period should be refrained from taking place. Moreover, reviewing Park’s work with the context of a specific trend should also be put to an end.
It should also be reconsidered that no proper consensus has been reached in terms of the period classification of Park In-whan’s literature. The necessity for finalizing the category of Park’s early works especially exists in the specification of the time of Park’s debut, which could be done through the comparison between the publication theory at “Gukjesinbo” and at “Jayusinmun”.
This research attempts to secure the significance of A Street and A Fault in the poetic world of Park In-whan, through the review of the theory of the initial publication of A Street , and through the comparison study between A Fault and A Chanson of Misfortune. Park In-whan himself had introduced A Street to his fellow writers as his debut work. In case of A Fault , although it was the first published work, Park put it within the category of his early works in Seonsijib (Sanhojang, 1955), and made it lose its authority as the “first published work” through adaption.
The reduction of the anxiety factor, which occurred due to his elimination of verse 7 during adaption, should be paid special attention. Just as A Street ended with hope, Park’s earlier works can be appraised as the poems that presented not only despair and depression, but also the places that can not be reached, and that materialized the “spirit of freedom” of the people of the period with unreachable places.