<어부가>의 패러디 양상 연구 ― 이현보의 <어부장가>와 윤선도의 <어부사시사>를 중심으로 ―

Abstract

Focusing on the parody aspect, this study examined Lee Hyeon-bo's Eobujangga and Yun Seon-do's Eobusasisa. Lee Hyeon-bo's Eobujangga revealed a difference from the preceding text in terms of Add Grammatical Elements to Read Chinese Characters(AGERCC) and stimulating sentence. Lee Hyeon-bo's Eobujangga has less AGERCC than the previous Eobuga. And in stimulating sentence, the former Eobuga secured structural stability by changing the 2 metre of the 3rd line to 4 metre of the 5th line. On the other hand, Lee Hyeon-bo's Eobujangga showed dynamic aspects through a change from the 2 metre in 3rd line to a 3 metre in 5th line. Lee Hyeon-bo had a clear distinction between singing style and reciting style. So, he tried a formal parody to transform the previous Eobuga into a reciting style. Lee Hyeon-bo's EobuJangga was a modification of the previous Eobuga according to suit the times. On the other hand, Yoon Seon-do's Eobusasisa transformed the former Eobuga into a traditional three-verse Korean poem form. First, the last five lines of each stanza are composed of an open form. This shows a cyclical composition from spring to winter and then again from winter to spring. And while Lee Hyeon-bo's Eobujangga shows an overall imbalance in stimulating sentence part, Yun Seon-do's Eobusasisa acquires structural stability. Through this, Yun Seon-do's Eobusasisa showed a concrete world of works that escaped from secular things. Parody is a self-reflective process that reveals the present consciousness of the past. In particular, Eobuga type works have been parodied continuously since Lee Hyeon-bo in the poetry literature of the Joseon Dynasty. Therefore, the study of parody on the works of Eobuga series should be further expanded in the future.