<龍飛御天歌> 향유․수용양상의 특징과 그 의미 - <鳳來儀> 정재를 중심으로 -

Abstract

Former studies on Yongbieocheon-ga(Songs of Flying Dragons Through Heavens, 龍飛御天歌) were largely focused on the lyrics included in the printed texts and, therefore, there was no concrete discourse about the ways how it was enjoyed and accepted. This dissertation is aimed at looking into the ways how Yongbieocheon-ga was enjoyed and accepted and analyzing their meanings, focusing on Bongnae-ui(鳳來儀) Jeongjae(呈才, Court Dance and Music). The following is the conclusion of this study. 1. Composed of a total of 125 chapters, Yongbieocheon-ga has a well organized structure and, in general, could be divided into five parts by characteristics. 2. Yongbieocheon-ga has two main directions in it: one is to praise the flourishing virtues and achievements of previous kings and the other is to have reasons and propriety that the succeeding kings should observe. 3. When performed in the forms of songs and dances in the royal palaces, Yongbieocheon-ga was called by another name, that is Bongnae-ui. Bongnae-ui was performed in different features and different emphases, as it was revised in various literatures from Sejongsillok-akbo(世宗實錄樂譜)․Akhakgwebeom(樂學軌範) and Daeakhubo(大樂後譜) to Jeongjaemudoholgi(呈才舞圖笏記). 4. Lyrics are rearranged in Bongnae-ui of Sejongsillok-akbo․Akhakgwebeom, largely focusing on the praise for the precedents and restricting the other lesson for the descendents. 5. In Daeakhubo, Chapter 125 is omitted and the aforementioned trend is further strengthened. 6. Bongnae-ui goes through a drastic change in general in Jeongjaemudoholgi. While some lyrics were intentionally altered to put more stress on the praise for the predecessors, those indicating the duties of the descendents were minutely changed or even deleted. It means the entire direction of the songs and dances was meant to be concentrated on the first tenor, or praise for the previous kings. 7. The continuous trend in the songs and dances of Bongnae-ui is attributable to the difficulty to directly deliver the message about the piety or other duties of the succeeding kings in face of the king in the performance. 8. Yongbieocheon-ga Yakbon(龍飛御天歌約本) could be taken as an example that makes a comparison to the abovementioned literatures. Although it was made for distribution and circulation among local officials and ordinary people, the message about the duty of succeeding kings are emphasized more in this Yakbon than in the original work of Yongbieocheon-ga as well as Bongnae-ui. 9. These differences prove that there were factors of an acute political discord between the royal authority and the power of the retainers within Yongbieocheon-ga from the very point when the work was composed. In other words, factors of the potential tension did not appear well in the initial form of Yongbieocheon-ga. But they gradually came to surface as the work was performed in the form of songs and dances later, revealing stark contrasts.