한중 시가의 맥락관계에 대한 논변

Abstract

Siga had originally been formed and developed in the midst of a close relationship with primitive living environment. For Siga to maintain and continue, it is necessary for Siga to be fit to their own melody and character. It is clear that Korean Siga as means of singing had independently developed, succeeding in tradition of melody and conveying thoughts and emotion of Korean people. Based on this premise, the study explored acceptance and influences of Chinese Siga upon Korean Siga. There are clear linguistic differences between Korea and China and character is also distinguished each other. So the author figured out that Siga in two countries coexisted, did not exist in assimilation and fusion in contextural relationship of two Siga. Above all, such coexistence was possible by internal willingness to maintain tradition and uniqueness of Korean Siga, being free from acceptance and influence of Chinese Siga. And Korean Siga was created, disappeared, and maintained from such internal willingness. Tradition and uniqueness each genre of Korean Siga are as below. Prototype of Siga in the ancient times is not known today and phonemic system was different so that it would be unreasonable to compare with style of Book of Odes. Hyangga may consist of four, eight or ten lines. Four lines is basic and expanded to ten lines. This development is based on melody that is fit to Korean unique language. Gyeonggichega is similar to Hyangga in ten lines or <Jeonggwajeong> in melody or song words. Gyeonggichega is also close to 'voice to give and take' in folk song. Goryeo Gayo was transmitted by word of mouth and established in letter later. Form of original Gayo is not known but this is related to traditional folk song in lingering refrain, melody etc. Akjang did not borrow or copy Chinese one as they are even in the ideological framework of Confucianism. It accepted form that had maintained from previous era and changed the form or it was created to new style of Siga. The origin of Sijo is three lines and concluding line of Hyangga in ten lines, and three parts form of Goryeo Gayo. Gasa escaped from becoming prose and norm of Sijo. In addition, encouraged by era's spirit of expansion of prose spirit, it developed to Jangga while maintaining existing melody. Until now, Sijo among Korean Siga was innovated to modern literature. Gasa also just entered the way of creation as modern literature. Sijo and Gasa coexist with modern poem and essay. This is a result of internal willingness only. This is anti-cultural phenomenon against western culture rushed like water. This is understood as part of maintaining our own tradition and keeping uniqueness. Here, tradition and uniqueness of Korean Siga are found. Tradition and uniqueness of Korean Siga would be maintained and developed as long as our people thrive.