<시죠(詩調)>(단대본)의 문헌적 성격과 수록 작품의 양상

Abstract

A Gajip has a characteristic of primary material containing Sijo. Its stature in the history of Sijo can be established based on its compilation date and structure. It is urgently required to examine the stature of each Gajip by attaining a research perspective on Gajip organization and to cast an eye on the history of Sijo with a broader insight. Gajip that have not been reported before are being discovered in succession. Studies on these new Gajip may help bridge a gap in the history of Gajip compilation. In this study, <Shijyo> owned by Dankook University, which has never been reported before, was characterized bibliographically and its stature was estimated based on its structure and included works. In the first part of this anthology, ‘the wave-type scores’ that express the melody using wave-shaped curves and relevant records are provided. Works by known and unknown authors are organized with a neat structure without classification according to melody. Compilation of wave-type scores and the arrangement of works by known authors show similar features to <Shiga(詩歌)>, a gajip of the late 18th century, whereas appearance of new authors and the works by unknown authors demonstrates the characteristics of the Gajip of the late 19th century as well. Therefore, based on its mixed feature of the late 18th and the late 19th centuries, the present Gajip is estimated to have been compiled around the early 19th century. If it adopted the features of preceding Gajip flawlessly, however, its compilation date can be the late 19th century or even later than that. Included works are transcribed mainly in Korean, but Chinese characters are also used in some of them. Unique variations, which can be observed only in the present Gajip, are also contained. Appearance of some authors' names that cannot be found elsewhere, inclusion of scores, and the dominant use of the Korean alphabet indicate its close adhesion to the scene of performance. In summary, <Shijyo> is a unique Gajip in terms of the variational forms and the way of transcription of the included works in spite of the apparent influence of preceding Gajip.