전환기 가사에 나타난 현실과 이념, 그 정서적 형상화: 박인로와 정훈의 작품 대비를 중심으로

Abstract

This research is focused on the emotional configuration of the works of Park In-Ro (朴仁老) and Jeong Hoon (鄭勳)'s works which are included in transitional period of Kasa. At the same time, it divided the meaning of real space in which the writer leads his personal life into two types of works- poverty and nature - and looked at the distance between their real life perception and ideological orientation toward the ideal world. In Park In-Ro's “Nuhangsa (陋巷詞)” and Jeong Hoon's “Tangoongga (嘆窮歌)”, the statements are in common with the sentiment of miserable poverty accompanied by the pursuit of Confucian ideology. But the pursuit of ideology is to console the poor life of reality, and its emotional orientation cast an empty shadow of ideology. “Tangoonga (嘆窮歌)” has relatively hollow statements on view of ideology than “Nuhangsa (陋巷詞)”. Since the “Tangoongga”'s statement style that makes life look ridiculous expresses a more miserable feeling about poverty than the dialogue style statement of “Nuhangsa (陋巷詞)”. Park In-Ro's “Nogyega (蘆溪歌)” is accompanied by an anxiety about real life, while ignoring ideological orientation of entering the government service in his statement about the scenery of nature. And although Jeong Hoon's life in nature is commonly expressed as a proud and a pride in “Yongchuyouyoungga (龍湫游詠歌)”, the awareness of the poorer realities of his life, which made it harder to enter the ideological path in to government service, is much passively stated in that poem. In contrast, in Jeong Hoon's “Sunambangongga (水南放翁歌)” the space of nature reflects the a labor field as a real life, which shows no sign of orientation toward the success within real life in the content and joy of labor.