향가와 시조의 형식적 연관성에 대한 재고-<鄭瓜亭>을 중심으로-

Abstract

This paper started by examining two hypotheses about the genre succession of hyangga(鄕歌) and sijo(時調). The hypotheses are that the three-tier structure and the use of interjections at the end of songs led to the similar structures of sijo. This paper rejected the first hypothesis by showing that “the three-tier structure of hyangga and early sijo are completely different in external and internal structure.” The second hypothesis was rejected by pointing out that "the appearance of interjections at the end of sijo is a phenomenon in the 17th century when sijo was in full swing, not in the early period of the genre." Therefore, the formal origin of sijo should be found elsewhere, and to solve it, this paper suggested to use the Goryeo song, “Jeonggwajeong(鄭瓜亭),” as a link. The first link is the formal commonality between ten-line hyangga and “Jeonggwajeong.” The second link is the melodic coincidence of the music of “Jeonggwajeong,” called “Jinjak(眞勺),” and that of sijo, called “Mandaeyeop(慢大葉).” A part of “Jinjak”, which is a long song with 80 lines, derived “Mandaeyeop,” implyng that the melody of hyangga was connected to that of sijo through “Jeonggwajeong.” The argument of this paper can be supported when the links among the literary genres and work are accepted. These are the link between the ten-line hyangga and “Jeonggwajeong,” and the link between “Jeonggwajeong” and sijo. Among them, the latter link could be sufficiently acknowledged, whereas there seems to be some doubt about the former link. I tried to resolve the doubt by pointing out that the creation period of “Jeonggwajeong” was still the time when hyangga was being created, and that some phrases in the work can be easily transcribed in hyangchal(鄕札), a writing system by which hyangga was recorded. Overall, this discussion is an explanation of the question, "Did sijo inherit hyangga?" In response to this question, I answered, "Since the melody of hyangga was passed down to “Jeonggwajeong” and part of the “Jeonggwajeong” melody was passed down to sijo, the melody of hyangga remains in the tune of sijo." This conclusion could dismantle the established understanding on connection points between hyangga and sijo and lead to the reconsideration of it, based on concrete historical evidence.