소우잡설(消憂雜說)의 특성과 시가사적 의의

Abstract

This paper comprehensively analyzes the characteristics and significance of Soujapseol (消憂雜說), a poetry collection from the Richmond Collection in the East Asian Library at the University of California, Berkeley. Estimated to have been transcribed in either 1844 or 1904, Soujapseol exhibits a unique compilation method, presenting 91 sijo poems and 19 gasa lyrics on an equal footing, unlike other collections that typically treat gasa as an appendix to gagok or sijo songs. Although the compiler remains unknown, their profound understanding of sijo and gasa, coupled with proficient use of Hangeul, suggests it was compiled by a specific literary class in the late 19th to early 20th century. The collection contains no musical notation or information. While symbols ( , ●, ◑, ◒, ◐) above the poems seem to indicate musical distinctions, the absence of specific musical names necessitated a comparative analysis with other collections. The results indicate that Soujapseol does not adhere to a strict musical system but rather repeatedly includes pyeong sijo of the isakdaeyeop series and saseol sijo such as manhoeng and long. This suggests that the collection might have been compiled for purposes other than musical performance. Furthermore, an analysis of the minimum co-occurrence frequency of the sijo poems reveals a close affinity between Soujapseol and 18th-century collections like Haeasu and Yeongeonryucho. This signifies that despite its late 19th-century transcription, Soujapseol embodies the poetic traditions of the 18th century. This characteristic is further corroborated by the analysis of lyrical transformations, where the term “ogin” (玉人), which typically evolved into “jeoldaegain” (絕代佳人) in 19th-century collections, is consistently used as “ogin” in Soujapseol, mirroring 18th-century practices. The most significant literary historical implication of Soujapseol lies in its approach to sijo as literature. The distinctive transcription method of translating Chinese characters into Hangeul demonstrates the compiler's intention to facilitate easier reading and understanding for readers. This approach often resulted in deviations from conventional metrics and elongated lyrics, suggesting that the poems were not primarily intended for musical performance. The title “Soujapseol” (meaning “miscellaneous tales to dispel worries”) and the placement of a saseol sijo as the opening piece clearly reflect the compiler‘s aim to focus on the literary function of sijo. Lastly, the inclusion of four additional sijo poems, despite their classical allusions to figures like “Bonghwang” (phoenix), “Yi Taebaek,” and “Beomjeung,” was widely familiar to common people through folk plays and pansori of the era. This suggests that Soujapseol was an attempt to popularize sijo beyond the realm of high culture and expand its literary appreciation among a broader audience. In conclusion, Soujapseol, despite being transcribed in the late 19th century, reflects the trajectory of 18th-century poetry and is significant for its literary approach to sijo, aiming for broader public understanding and enjoyment. This collection serves as a valuable resource, illustrating that sijo functioned not merely as a song but as a form of literature that resonated with and comforted people from various social strata, thereby contributing to the expansion of future research in poetry collections and literary history.