江湖歌辭의 作中空間 設定과 意味 －<賞春曲>⋅<俛仰亭歌>⋅<星山別曲> 을 중심으로－

Abstract

This paper examines the differences in the author's intentions in writing as seen in the depiction of the setting within the work in Sangchungok, Myeonangjeongga, and Seongsanbyeolgok, which have been classified as "rivers and lakes gasa." That is, it is not the "what" the works sing but "why" they sing it that is analyzed. As a result of this analysis, the three works were divided into three types according to the setting within the work: abstract space, realistic space, and a composite of abstract and realistic space. The setting in Sangchungok is depicted as an abstract space rather than the actual space in which the author lives, conspicuously expressing the abstract or emotional perception of the subject by depicting the setting using common nouns and conventionalized metaphors. That is, the author placed emotional satisfaction first and thus depicted what he desired rather than showing his subject realistically. Thus, Sangchungok uses an abstract setting to hide the author's actual life and present a sketch of him as the ideal retired scholar. Myeonangjeongga features a realistic space that can be equated to the actual space in which the author lives, tending toward an attitude which realistically portrays the author's experiences and emotions by depicting the setting using proper nouns, such as actual, specific place names or historical facts. Thus, Myeonangjeongga uses a realistic setting to place the emphasis on factual portrayal of the author's life, experiences, and emotions. The setting in Seongsanbyeolgok is a composite of abstract and realistic space, presenting a realistic setting through the use of specific place names while at the same time establishing the space inhabited by the author in abstract terms. That is, the work does not present the speaker's choice of action monistically but dualistically, showing the speaker's struggle between these two conflicting courses of action. Thus, Seongsanbyeolgok uses a composite setting to focus on the conflict coming from the opposition of the two courses of "leaving" and "staying." From this analysis of settings within these works, it becomes clear that the depiction of setting in gasa is closely related to the motivation for or intention behind writing the gasa. Thus, it is possible that an analysis of these settings may be a clue to explaining the differences between gasa that have heretofore been classified as "rivers and lakes gasa."