윤선도 시조 <초연곡>과 <파연곡>의 창작 맥락과 작품 세계

Abstract

Yoon Sundo's works are conveyed by all 75 sijo in the ‘Gosanyugo’(Byuljip), and through this, Yoon Sundo's work world can be confirmed. Except for some works, it is characterized by the fact that the time of creation of the work can be grasped through the records attached to each work. Through the works left by Yoon Sundo, we can read the author's anguish caused by conflict with the world. Existing studies have focused on focusing on the meaning of nature in Yoon Sundo's works and mentioning the connection with the real world as a comparative object. There are also sijos that directly reflect the political situation of the time, and <Choyeongok(初筵曲)> and <Payeongok(罷宴曲)> composed of two numbers are representative works. In previous studies, works such as <Choyeongok> and <Payeongok> are only partially mentioned in the comprehensive view of Yoon Sundo's work world. Still, there has not been a full-fledged discussion of the work world as well as the interrelated aspects of these works. Above all, the fact that there is no record related to <Choyeongok> and <Payeongok> in Yoon Sundo's literary collection is a factor that hinders the progress of the discussion. However, it is possible to deduce the time of creation based on the records of postwar works recorded in the literary works. In addition, by closely examining the contents of the work and other records, the intention and context of the work can be guessed. As can be seen from the titles of <Choyeongok> and <Payeongok>, these works are intended to be called at the banquet. <Choyeongok> was created to be sung at the beginning of the banquet, and it was intended to finish with <Payeongok> naturally at the end of the ceremony. It is worth noting that the end of the work is all concluded with a verse that wishes ‘Mansumugang(萬壽無疆)’. At that time, the expression ‘Mansumugang’ was only available to the king, not the general public. Therefore, these works are the songs that decorate the beginning and end of the banquet, and they were created with the intention of being called at the place where the king was finished by ‘Mansumugang’ with the last line. <Choyeongok> and <Payeongok> were built between the time of creation of <Jeungbangeum>(1645) and <Eobusasisa>(1651). During this period, Yoon Seondo resigned from his office and stayed in Haenam(海南). In 1649, when he was 63 years old, the death of Injo and the crowning of Hyojong were achieved. Yoon Sundo expressed his condolences on the succession of the artificial man by raising the letter of appeal(Gichukso), and conveyed the emphasis on the recruitment of talented people to the newly crowned Hyojong. At the same time, he created a series of <Choyeongok> and <Payeongok> in order to sing in the same place as the king. The contents of these works closely correspond to the reduction of ‘Gichukso’. However, due to the atmosphere of critical adjustment to Yoon Sundo, the intention to tell the king of <Choyeongok> and <Payeongok> was not finally realized. The reason why he did not mention the time of creation of the work was because he thought that even it could be used as an opportunity for criticism by the opposing party. However, he tried to reveal that these works were included in the literary works side by side with other works, and that they were intended to be dedicated to the king because of their contents.