安軸의 <관동별곡> 창작 시기와 그 배경

Abstract

About the nature and aesthetics of the "Gwandong byeolgok" in the Gyeonggichega genre we are impressed that there was built any popular view: a newly rising class of Sadaebu gives expression to its own aesthetic sense in terms of the exalted voice. Besides, it is impossible to deny that most of the studies intermittently performed up to this time are based on the results. However, the view depends upon not by rigid positive or systematic logic but by simple analogy or intuition so that it implies many problems. From the following vision that to analyse atomically the time and ground of the creation of the "Gwandong byeolgok" itself is the key of understanding the text, this study is pushed forward and can secure some new results. At some proper time(after 1342, A.D. the restoration of the King Chung Hye 3) the governor Baek, Mun-Bo made a round of the province of Gyeongssangdo. An Chuk, getting born in the county Sunheung, succeeded a tradition that a confucian teacher and his disciples, if a governor call on their province, write poems to guide his journey in the sense of welcoming his inspection tour. He composes a "In"(引) and "Gyeongsangdo paryeong", playing a role of both a confucian teacher and his disciples. The latter in the mode of Chinese quatrain of 7 words is provided by the poems which Yi In-bok received from the literary men of the Yuan(元) dynasty one year ago and enjoyed it as songs. But for the effort of the ruling class early to disseminate and deep the songs of Chinese letters in an ardent wish to promote the development of civilization, the distinctions between Chinese language and Korean prevent the assimilation and the "Gwandong byeolgok" is written to conquest that limit. So we may summarize that it is created in 1345, and evolved from the "Gyeongsangdo paryeong" for Baek Mun-bo being the Jonmusa of the province of the Gangwondo. One is faced with many problems amassed if the results of this paper's theme are assented some degree of their propriety. First, one may reject the impasses and irrationality inevitably being marred to understand and evaluate the text and will try to interpret it from different perspectives. Second, one will modify the existing critical ideas about the "Jukgebyelgok" and the other whole works in the same genre. Finally it is extended to the property of the genre itself. This situation provides an opportunity which will reverse the blame that the study about the works in the genre of Gyeonggichega is neglected in comparison with different genres. In addition, one believes it will lead to a profitable results for both the genre of Gyeonggichega including the "Gwandong byeolgok" and our learned circle.