신흠의 악부 인식과 민족시가의 재인식-신흠의 樂府體詩와 「放翁詩餘序」 등을 중심으로-

Abstract

The purpose of the current study is to examine Sin-Heum's understanding of Chinese Yue-Fu(樂府), and how it relates with his creation of Yue-fu poems and the appreciation of Korean traditional poetry. This study also aims to analyze his creational consciousness. Sin-Heum, as one of four eminent writers in Chinese writings, left a number of Yue-fu poems. He was the first person who accurately understood Chinese Yue-fu poetry and knew the reason why he himself was concerned about Yue-fu genre. From the beginning, Yue-fu as the 'song-poetry'(歌詩) was the embodiment of 'song'(歌) and 'poetry'(詩). Yue-fu not only deals with various themes, such as the realities of daily life and love, but also makes the outflow of the emotion free. Such strength of Yue-fu enabled people to concentrate on their inner feelings and express them without formal restriction. He understood well the characteristics of Yue-fu genre and applied them to his own creation of Yue-fu poems. Why had he been so concerned with Yue-fu and eagerly written Yue-fu poems? It was not only because of his lasting interest about 'song' from youth, but also because of personal hardship in his life caused by being expelled. He considered his times as a degenerate age, so he thoroughly denied it, while singing broken hearts for his times when the truth and right were betrayed by evil ones. Such sense is called 'heart-broken consciousness for the degenerate age'(傷世意識) in this paper. He was to express discordance with the realities and severe criticism of the world. That is the result of making full use of satirical tradition in Yue-fu genre. Above all, in the comparison of 'Korean song' with Chinese Yue-fu, Sin-Heum positively affirmed and defended the value of 'Korean song'. As such positive estimation was quite different from previous ones, it should be highly estimated as having a meaning in the history of Korean literature. Paying attention on Yue-fu as the embodiment of song and poetry, He could deny discriminational perception of 'song'(歌) and 'poetry'(詩), and positively estimate the value of 'Korean song'. In contrast with the general perception at that time, he recognized that there was no choice between 'song' and 'poetry'. His works of Sijo(時調), <Bangongsiyeo(放翁詩餘)> were created in this context. Living in exile, using 'song'(歌) not 'poerty'(詩), and 'Korean song' not 'Chinese song', he sang difficult situation, absurd realities, and the broken hearts for the degenerate age. He extended the province of Sijo to the area in which writer could express his own internal private feelings and criticize the realities where he lived in. These are true progress Sin-Heum's Sijo had made.