李重慶의 노래에 대한 인식 및 시가 창작의 양상과 그 의미

Abstract

This paper focuses on the vernacular poetry of Yi Junggyeong(李重慶 : 1599-1678), a talented member of a distinguished family in Cheongdo(淸道), North Gyeongsang Province, showing how works such as his sijo poetry, "Odaeeobuga gugok(梧臺漁父歌 九曲)", "Eobusa ojang(漁父詞 五章)" and "Eobubyeonlgok jeonhusamjang(漁父別曲 前後三章)", were produced after much agony and introspection. The related text, "Odaeeobugajaseo(梧臺漁父歌自序)", shows that two events led to Yi Junggyeong changing the way he thought about vernacular poetry, thus allowing us to divide his composition and enjoyment of poetry into three main periods. The first period was when he had written no songs of his own and sung the songs of his well-known predecessors, such as Nongam(聾巖) and Toegye(退溪). The second period saw Yi Junggyeong realizing this his enjoyment of nature was different from that of Nongam or Toegye, at which point he stopped singing the songs of the ancient sages and began to write his own songs. During this period, Yi Junggyeong modelled his own songs on those of his predecessors. In the third period, he came to a new understanding of songs after the death of his mother, and based on this change in thinking he established his own theory of songs and composed songs in accordance with that theory. These changes in his understanding of vernacular poetry influenced his composition of three series of fishermen songs. According to the above division of periods, "Odaeeobuga gugok" and "Eobuga ojang" were from the second period and "Eobubyeolgok jeonhusamjang" was from the third period. Differences can also be seen between the two second-period songs, "Odaeeobuga gugok" and "Eobuga ojang". "Odaeeobuga gugok" is thought to be the earlier work and relies heavily on the works of those such as Nongam and Toegye, while "Eobusa ojang" relies on such models and yet manages to find a unique voice through both form and content that reflect the author's agonizing over life. "Eobubyeolgok jeonhusamjang" was the result of his agonizing over life in Odae(梧臺) and his songs after he began to doubt the meaning of both when his mother died, and it was composed as he established his theory of songs that said a true song was one that was sung with one's own voice about subjects of one's own choosing. These changes in Yi Junggyeong's composition and enjoyment of vernacular poetry are significant in that he was able to step out of the shadow cast by his predecessors and pioneer his own art. Texts related to his poetic works are valuable in that they show how he repeatedly stopped and then returned to singing, and how his songs were the result of his deep agonizing.