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다국어 초록 (Multilingual Abstract)

Regilaul is the term referring to a traditional Estonian folksong which was formed on the linguistic background of a Western Finno-Ugric language and functioned as very meaningful means for Estonian people to express their feelings and moods till the mid-19th century. However, it began to decline rapidly since the Western influence at the end of the 19th century. The tradition of regilaul almost disappeared in the mainland of Estonia, but it is merely maintained alive in a few villages in the countryside, such as Kihnu island in West Estonia and South-East region inhabited by Seto tribe, which demonstrates cultural distinctness. The exact meaning of regilaul is uncovered yet, but it is believed to be the combination of the word laul, the song in Estonian, and Rege, which means ‘the row’ in German dialect. The purpose of my study is to analyze the basic prosody of regilaul and methods of expressions, which have never been introduced in Korean academic journals, and to analyze its influence on the art of verse-making during the 19th century, when the modern Estonian literature developed, with the examples of two poets Mihkel Veske and Ado Reinhold, as well as Kalevipoeg, the national epic. Traditionally a regilaul is not divided into stanzas and the end rhyme is hardly used. The system of rhythm is similar to trochee frequently utilized in English prosody: the stronger parts, where an accent falls, and weaker parts are repeatedly placed in one verse. Generally, a strong part with an accent is composed of a long syllable. In most cases each verse is divided into 8 parts according to the quantity of syllables, however verses can be divided into two bigger parts by the interval in the middle. One of the most important features of regilaul is a very loose link between lyrics and melody. A melody is not used exclusively for specified lyrics but also found in other songs with different lyrics. The link of melody to specific lyrics began to appear in the 18th century and established during the 19th century. Mostly a verse comprises one complete sentence or expression. Many forms of expression are applied to prevent monotony or simplicity of regilaul, such as parallelism, alliteration, repetition, epithet, intentional modification of vocabulary, etc. Those factors, which have been used in oral literature, were applied for the versification of modern poetry by Mihkel Veske and Ado Reinvald. They are proclaimed to be the greatest masters who revived the main essence of expressions and features of traditional prosody in their works. Additionally, the prosody of regilaul is successfully revived in Kalevipoeg by F.R.Kreutzwald, which encouraged the national awakening of Estonian people in the 19th century. The prosody of regilaul generally resembling the utterance of Estonian vernacular made a huge contribution to the open expression of the sufferings and hardships experienced by Estonians.

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참고문헌 (Reference)

1 Mihkel, Veske, "Valitud Laulud" Ilukirjandus ja kunst 1949

2 Tuglas, Friedebert, "Sõna, Koguteos" Odamees 1918

3 Kalkun, Andreas, "Seto Naiste eluloolaulud. Autobiograagiad ja utoopiad (magistritoo)" Tartu university 2003

4 Sarv, Mari, "Regilaul Kui poeetiline süsteem : Paar sammukest XVII Eesti Kirjandusmuuseumi Aastaraamat" Eesti kirjandusmuuseum 2000

5 Labi, Kanni, "Paralleelverbid - regilaulu koostisosad ja keeleüksused. Sarv Mari et als Regilaul - Loodud või saadud?" Eesti kirjandusmuuseum 225-240, 2004

6 Dubios, Thomas A., "Native Hermeneutics: Traditional means of interpreting Lyric Songs in Northern Europe" 109 (109): 235-266, 1996

7 Kaup, Johannes, "Mihkel Veske : keeleteaduse pioneer ja isamaalsuse raudne tulehoidja - Eesti rahvuslikud suurmehed III" Kooli-kooperatiiv 1936

8 Jaago, Tiiu, "Kust tulid lood minule" Tartu university 2000

9 Nagelmaa, Ene, "Kas tunned maad (Veske luuletused)" Eesti raamat 1996

10 Kreutzwald, Reinhold, "Kalevipoeg, An Ancient Estonian Tale" Symposia New Jersey : Press 1982