신흠의 시조 <방옹시여(放翁詩餘)>론 (1)

Abstract

Sin-Heum’s Sijo, which left 30 works, were generaly interpreted as each independent piece, with diferent creation periods. So as a result, the beginnings of the study of Sin-Heum’s Sijo were more likely to be judged by some specific works as the leading works of Sijo since the 17th century. To question this, I tried to prove that the first 30 poems were not independently created by each of them, but were created in a series of works based on the same set of instruments. Through the restoration of the historical situation, Bang-ong-si-yeo was a series of works about half a year of unfairnes that forced him out of government service in 1613. This study was writen to present a new direction of understanding by demonstrating the posibility of a series of works in the preceding paper, through careful analysis of works in al 30 numbers. First, before the detailed analysis, I worked hard to prevent confusion in the use of the expected term through the establishment of the concept of the series and to lay the basis for the method of the interpretation of the work by revealing the central linguistic device that was used in Bang-ong-si-yeo. The analysis of the work was conducted in four stages, Winter 1, Winter 2, Spring and early Summer. However, the features of the Taoist thought is directly related to the author's perception of the world, so it is not a mater to be solved at the level of the interpretation of the work. Thus, the question of whether Sin-Heum’s interest of the Taoist thought is within or outside the Confucian-based ideology wil be intensively adresed in the folowing paper, along with the literary status of Bang–ong-s-yeo.