고려사 「악지」 <속악>條에 실린 노랫말 記寫 방식 고찰

Abstract

In this thesis I try to resume the way of description of 17 articles in 『Goryeosa』 「Akji」 aticle of <sokak>. The 17 articles are categorized by ①Lee Je-hyun’s Soackboo version, <Ohguanshan> · <geosaryun> · <Cheoyong> · <Sarihwa> · <Jangam> · <Jewibau> · <Jeonggwajeong>, ②as a whole translation version, Chinese writing song <Pungipsong> · <Yashimsa>, ③without Rustic lnguage version, Chinese writing song <Jahadong>, Kyunggichega <Hallymbyeolgok>, ④as another translation in classical Chinese poetry, <Hansongjeong> · <Samjang> · <Saryong>. In these articles we can notice three things,First, we can find the endeavour that is trying to shift genuine oral rhythm to the text. <Hallymbyeolgok> · <Jahadong> · <Yashimsa> · <Pungipsong> has Chng-dan-gu form due to concerning about ‘Singing’, ‘Oral language’ also <Samjang> · <Saryong> are a ‘절구’,which does not have a formal form. We can see all of these distinguishing mark coming from the effort to reflect a characteristic of spoken language. Second, we can expect the aesthetic effect. Lee Je-hyun’s Soackboo version and Jang Jin-gong‘s <Hansongjeong> are perfectly matched with formal rhythm. Through these instance, we also see that the formal rhythm is put on the first place in a row of priority. Last, we can catch the sight of the Ackboo of a literary man at those days. Through the last of articles except Kyunggichega and Chinese writing song, we can look around the literature of the people. The editor’s intention to shift the literature of the people to history book also disproof there is some kind of practical purpose in a broad sense. Like above, the descriptive manner of korean song reflects a mode which involved Goryeo Dynasty song and a view of translator.