<風謠>의 형식과 해석에 관한 재고

Abstract

<Poongyo(風謠)>, a hyangga(鄕歌) in <Samgukyusa(三國遺事)>, has been firmly defined as a four-line hyangga(四句體鄕歌). However, reconsidering this fixed idea enables us to understand the literary characteristics and context of <Poongyo> more appropriately. This paper argued that <Poongyo> is not a four-line hyangga as most scholars believe but a folksong with a form that coincides with the authentic form of millers' folksongs. This argument is based on the following four factors: the common errors in dividing lines in <Samgukyusa>, the context of <Poongyo>, the similarities in the form of <Poongyo> and that of millers' folksongs, and the new interpretation of poetic words in <Poongyo>. Firstly, errors in the division of lines prevail in all of the thirteen pieces of hyangga in <Samgukyusa>, which means <Poongyo> probably also contains such errors. In this presumption, <Poongyo>'s form can be reconsidered as that of the millers' folksong. This assumption is based on the record of <Samgukyusa> regarding <Poongyo>'s context and the similarity in <Poongyo>'s form and that of millers' folksongs. In addition, a new interpretation of ‘功德修叱如良’ also supported the new line division proposed by this paper. In addition to the major point, a new interpretation of ‘多羅’ was another fruitful result. The grammatical interpretation of ‘多羅’ was not fulfilled yet by other scholars. However, this paper suggested that ‘多羅’ is the Sanskrit word 'tala', which means the world. The newly interpreted <Poongyo> is as follows: singing: (solo) come! (unison) come! (solo) come! (unison) come! (solo) painful world, people in the painful world, do charitable deeds! (unison) come!