성종조 ‘남녀상열론(男女相悅論)’의 의미와 양상

Abstract

The reign of King Seongjong was a time when Joseon became stable as a Confucian society. Despite the fact that "Gyeongguk Daejeon(경국대전)," which had been revised several times, was completed only after the time of King Seongjong's reign, it is also a clue that shows that this period is the starting point for the establishment of a ruling order based on Confucian ideology. It can be found that the meaning of the "Namnyeosangyeoljisa(男女相悅之詞)" should be discussed and analyzed in various ways, including language, politics, social and musical suitability, rather than simply focusing on the problem of lewd affection between the opposite sex that conforms to the Confucian situation. King Seongjong emphasized the importance of fostering management who learned the notes by emphasizing the importance of Ak(樂). Recalling the fact that the music sheet was used to accommodate the ancestral rites and only changed the lyrics, it is also believed that the subject of the dispute between Namnyeosangyeol(男女相悅), which was raised in the early Joseon Dynasty, was limited to the lyrics, or poetry. Since the discussion of the male-female hierarchy took place in later generations rather than in the period of creation of the first movement, it cannot be concluded that the subject of the dispute is limited to the lyrics.In this book, we wanted to focus on the original appearance of the "Namnyeosangyeol(男女相悅)". In the discussion of the male and female ranks took place in later generations rather than in the period of the creation of the movement in the early Joseon Dynasty, it cannot be concluded that the subject of the dispute was limited to "Gasa(가사)." In this study, we wanted to focus on the original appearance of the ''Namnyeosangyeol(男女相悅)''. In particular, it is meaningful that "Namnyeosangyeollon(남녀상열론)" is not just a lewd story of men and women, but rather a representation of the politics of reality, political links through music, and examples and relationships. Rather than referring to the vulgarity of the lyrics, the emergence of "the theory of succession" was conscious of the fact that the custom of "the succession" remained at the royal feast. Through this, we were able to examine the changes in Sungjong's perception and worldview. Sungjong actively tried to utilize the musical's usefulness and positive meaning. With the balanced readjustment of manners and music, King Seongjong was able to reach the peak of the music culture during the early Joseon Dynasty.