『靑丘永言(珍本)』 所載 18C 시조의 數大葉 한바탕 가능성 -주의식 시조를 중심으로-

Abstract

The aim of this paper is to examine the passibility of one Sak-Daeyeop set of 18C Sijo. In Ju Uisik and Kim Yuki's works, there are disparate works in terms of reality and emotion recognition. The reason for this is that their work was created as a Sakdaeyeop(數大葉) set-One Batang(한바탕). This form can be found in the Kim Cheontaek and Han Yusin's work. When does the current Sakdaeyeop(數大葉) set created? In the early 18C, the sufficient environments for a Sakdaeyeop set were created. The pattern of this set was made from the court music show format. The court music show format is started with a <Simbnaggok(心方曲, 오리)> and next the exciting musics-court party music-are played, the last is finished with <Gamguneun(感君恩)>. This pattern had been accommodated in private music(Sijo) performances. In private music performance, the court party musics were replaced by the <Jung-Daeyeop(中大葉)>. In other words, it was performed in order of <Simbanggok>-<Jung-Daeyeop>-<Gamguneun>. After the middle of 17C, the <Simbanggok> was replaced by Sijo, and the <Gamguneun> was replaced with a Sijo praising the peaceful reign. Since the mid-19th century, the last work was fixed to <Taepyeongga(太平歌)>. Based on the above discussion, this paper research the works of Ju Uisik and Kim Yuki, Kim cheontaek, Han Yusin. The first work in their works covers the theme of the whole work and play a part of starting the set. And the last work of their works were all singing for the peaceful reign. And the works of Ju Uisik were arranged in a variety of tunes since the 19C song books. In this regard, their works may have been created as a set.