만횡청류의 분화와 분화의 의의

배대웅 ( Bae Dae-ung ) 한국시가문화학회 2021 한국시가문화연구 Vol.- No.48

본고는 『청구영언』(김천택본)에 수록된 ‘만횡청류’ 작품들의 분화 양상을 살펴보고 그것을 통해 찾을 수 있는 의의에 대해 살펴보았다. 『청김』의 ‘만횡청류’ 작품들은 전승되면서 여러 가지 모습으로 변화의 모습을 보여준다. 이러한 변화의 모습을 본고에서는 ‘만횡청류’의 분화라고 칭하였으며, ‘만횡청류’ 작품들의 분화의 모습을 ① 가집 내 같은 악곡에 수록되지만 두 곡씩 수록되는 경우 ② 가집 내에 같은 작품이 수록되지만 다른 악곡으로 수록되는 경우 ③ 같은 악곡으로 전해지기는 하나 다른 군집으로 나눠질 정도로 내용이 분화한 경우로 나누어 보았다. 그 결과 ‘만횡청류’의 분화는 우선 ①, ② 분화 양상의 경우, 19세기까지 전해지던 ‘만횡청류’가 창자의 성별이 다르고, 불리는 악곡명이 다르다 할지라도 연행 현장 속에서 일부 만횡청류 작품들에 대한 애호의 모습을 찾아볼 수 있다.먼저 인용한 작품처럼 최초 전해지던 ‘만횡청류’ 작품을 연행연장의 애호에 맞게 내용을 수정하여 연행했다는 것을 알 수 있다. ③ 분화 양상도 앞의 두 분화 양상과는 다소 다른 모습을 보이긴 하나 결국 이 경우에도 앞서 언급했던 향유자들의 애호나 취향과 밀접한 관련이 있는 것으로 생각할 수 있다. 이러한 분화 양상은 ‘만횡청류’의 내용 분화와 악곡 분화가 이뤄진 후 19세기에 이르러 그것들이 통일된 모습을 찾을 수 있지만 20세기 즈음에 이르러 연행 현장 속에서 불리는 노래의 종류가 다양해지면서 기존에 통일성을 보였던 노래들도, 악곡이 됐든 장르가 됐듯, 그것들의 변화가 있었다는 것을 살펴볼 수 있다. 또한 연행 현장의 변화도 충분히 그것에 영향을 줬다는 것이나 향유층의 애호·취향의 변화 역시도 예상해볼 수 있었다. This thesis examined the aspect of differentiation and significance of ‘Manhoengcheongryu’ works contained in 『Cheongguyeongeon』(by Kim Cheon-Taek). The ‘Manhoengcheongryu’ works of 『Cheongguyeongeon』(by Kim Cheon-Taek) were changed into many different looks in the process of transmission. In this thesis, this changed look was called the differentiation of ‘Manhoengcheongryu’, and the differentiated looks of ‘Manhoengcheongryu’ works were divided into ① a case in which two songs were contained in the same musical piece within the collection of poems, ② a case in which the same work was contained as a different musical piece within the collection of poems, and ③ a case in which it was handed down as the same musical piece, but the contents were differentiated a lot enough to be classified into another group. The results of examining the differentiation of ‘Manhoengcheongryu’ could be summarized as follows. First, in case of the differentiation aspect shown in ① & ②, even when the ‘Manhoengcheongryu’ transmitted till the 19th century showed the different sex of singers, and the name of musical piece was different, it was possible to see the preference for some Manhoengchengryu works in the site of performance. Just as the work quoted earlier, the ‘Manhoengcheongryu’ work initially transmitted was performed after modifying its contents suitable for the preference in the site of performance. Even though the differentiation aspect shown in ③ was a bit different from those two above differentiation aspects, eventually, this case was also closely related to the preference or taste of the enjoyers mentioned earlier. Those differentiation aspects showed the unified look in the 19th century after the contents and musical piece of ‘Manhoengcheongryu’ were differentiated. When the kinds of songs sung in the site of performance were diversified in the 20th century, there were some changes in them just as the existing songs with the unity became a musical piece or a genre. Also, the changes in the site of performance and the changes in the preference/taste of enjoyers probably affected them.

한설당 안창후 시조의 창작 배경과 작품양상

배대웅 ( Bae Dae-ung ) 한국시가학회 2017 韓國 詩歌硏究 Vol.42 No.-

This study investigates the background and patterns of sijo (traditional three-verse Korean poem) in order to better understand those created by Ahn Chang-hoo. The results suggest that Ahn Chang-hoo, who came from a noble family of a village, composed sijo to enlighten noblemen who coveted high posts because he condemned such desires. Ahn pursued the academic activity of creating sijo with the intention of securing his status as a village nobleman during a time when there were stark discriminations between noblemen from urban areas and those from rural villages. He also composed these poems under the influence of his fellow clan members. Because of this, Ahn Chang-hoo created sijo to give useful humanitarian lessons. Subsequently, this study examines the patterns in sijo by Ahn Chang-hoo based on this background and purpose. One characteristic of his sijo is that the form is colored by the instructive and moral disciplines of academic activity. In terms of content, his sijo emphasizes cultivating moral obligation that humans ought to show by reflecting on themselves. Second, his sijo emphasizes humans` innate quality by quoting passages from “Kyeongjeon” (classical textures). Thirdly, his sijo teaches about filial duty and awareness of family clans, and the characters of instructive and moral sijo. In addition, the composition of his works are presented concretely through literature and summarized in poems. His sijo suggests his hope for the listener to memorize and recite its teachings. In other words, Ahn Chang-hoo hoped that those who took the course of his sijo would study sijo beginning with literature and then moving from poem to song. Taking this into account, his sijo follows the pattern of moving from specific teaching to kind teaching and then important teaching. His sijo was created with the aim of effective academic pursuit.

< 경번당가 >의 창작경위와 시조사적 의의

배대웅 ( Dae Ung Bae ) 한국시가학회 2016 韓國 詩歌硏究 Vol.40 No.-

“Kyungbeondangga” is a work of Korean traditional sijo, included in The Diary of Bongsabugun in unknown authorship. “Kyungbeondangga” is composed of 14 verses. 12 verses sing about yearning and affection for the 12 months of the year, and the last two verses complete the poetic concepts in the previous verses. On the other hand, the relationship of the sijo of military people and “Kyungbeondangga” may be contemplated. This is based on the Bubang(a military visit to secure the border) record of Lee Jinmoon, who was a military person, although not the author of The Diary of Bongsabugun. Therefore, we were able to find out that among the sijo of military people, there were ones that sung of yearning and love. Furthermore, in the Joseon dynasty, there is a record that ginyeos(entertaining girls) were sent for the military people stationed in the borders. With this record and the studies of scholars in the past, we were able to conclude that the military people mainly sang of affection when they sang with the ginyeos who were a part of their daily lives, or when they observed a banquet where the ginyeos performed. Therefore, we sought a point of contact between the sijos of ginyeos with known ownership and “Kyungbeondangga”. As a result, we were able to find common traits between “Kyungbeondangga” and the sijos written by ginyeos who worked in the Gwanseo region (the northwest region of the Korean peninsula). Verse 14 in particular was found to be related to various sijos of the region. That is, “Kyungbeondangga” may be seen as ‘a song that a military person sang to a ginyeo on his Bubang to a border area’, ‘a written record of a song of a ginyeo who worked in a border area’, or ‘a written record of a parody of a song of the ginyeos in another region sung by a ginyeo in a border area’. It parts into three possibilities, but we can see that “Kyungbeondangga” is a sijo that roots from the ginyeo culture in the Gwanseo region regardless of which case it may fall under. In addition, we may assume an influential relationship between “Kyungbeondangga” and the sijo written by Lee Sebo, which was assessed as the only sijo written in the form of praising the 12 months of the year. Of course, further study is necessary in this direction. However, there is a possibility that as the case of “Chunmeongok”, “Kyungbeondangga” sung in the regions around Hampyeong or Gwanseo may have influenced Lee Sebo, or that Lee Sebo was exposed to the “Kyeongbeondangga” which was then circulated in the Jeollanamdo regions during his exile in Shinjido, Wando, in Jeollanamdo. In conclusion, “Kyungbeondangga” is related to the ginyeo culture, the singing culture of Gwanseo and Jeonnam regions, and the sijo of Lee Sebo. Especially, the creation period can be assumed through conducting a comparison study with the sijo of Lee Sebo.