「청석령가」와 「작구가」의 통합적 이해

Abstract

The aim of this article is to interpret the <Cheongseogryungga(靑石嶺歌)> and the <Jakguga(雀鷇歌)> responding to each other. Despite being known to be sung by Bonglimdaegun(鳳林大君), the <Cheongseogryungga> is actually sung by Sohunseja(昭顯世子). King Injo(仁祖) sang his <Jakguga> in response to <Cheongseogryungga>. <Cheongseogryungga> and <Jakguga> are understood as expressions of private inner emotion between father King Injo and son Sohunseja. In this time Sohunseja opened up new territorialization into <Cheongseogryungga> with Deleuze’s concept. After Sohunseja suddenly died, Bonglimdaegun took over as Crown Prince and took the throne. In this period <Cheongseogryungga> deterritorialized from Sohunseja. In the later half of 17th century <Cheongseogryungga> has been known to be sung by Bonglimdaegun as a song of sorrow during the envoy which suffered hardships. At this stage, <Cheongseogryungga> achived reterritorialization by Bonglimdaegun. In the early half of 18th century Kimchanghup(金昌翕) took the meaning of <Cheongseogryungga> as a ‘First intention of Perseverance(臥薪嘗膽)’. This understanding means political explanation through Bukbul(北伐) and ‘Respecting Myung Dynasty Rejecting Cheong Dynasty(尊明排淸)’. In the early half of the 18th century, Kwonman(權萬) collected and translated the <Cheongseogryungga> and the <Jakguga> as hailing to each other. We are able to reanalyze the two songs as expressions of private inner emotion between father King Injo and son Sohunseja. A characteristic of parole in song performance is able to be restored to the role of langue through territorialization, deterritorialization, and reterritorialization of the <Cheongseogryungga>.