조선왕조실록을 통해 본 ‘시가’와 ‘가요’의 문제

Abstract

The terms ‘shiga’ and ‘gayo’ have been used without their concepts clarified in the field of classic poetry. This tendency was already prevalent from the studies back in 1940s. To clarify the confusing concepts of these terms, this paper aims to confirm that two terms are used in distinct connotations based on the usage of them in the Annals of the Joseon Dynasty. In the Annals, the term ‘shiga’ conveys the meaning of the accompaniment song, which is the literature mainly created by the upper class that incidental music. In contrast, in the same book the term ‘gayo’ includes not only the songs of Joseon Dynasty scholar and official dancing girl, but also folk songs. Since it includes folk songs, ‘gayo’ has a strong sense of nothing accompaniment song for which general people take initiative in doing. This phenomenon can be also confirmed in the prose collections written with Chinese characters from Joseon Dynasty. Unlike the clear distinction in the Annals, many song books published after the 18th century show that the discrimination between the terms 'shiga' and 'gayo' had been blurred and two terms were used ambiguously without distinction. According to the above arguments, the tendency of calling Goryeo Dynasty ‘gayo’ as Goryeo Dynasty ‘shiga’ or Chinese writing body ‘shiga’ as Chinese writing body ‘gayo’ should be reinvestigated. The scope of this paper was limited to the Annals, but this may be too limited. There is a compelling need for the precise distinction of terms to clarify the intersections and transitions of classic poetry and popular songs.