동학가사 「채지가(採芝歌)」 연작의 이본 양상과 작품세계

Abstract

In 『Donghakgasa(東學歌辭)』Ⅰ․Ⅱ, published by The Academy of Korean Studies, Su-woon Gasa and other Donghak Gasa are included as an appendix behind Choi Je-woo's 『Ryongdamyusa(龍潭遺詞)』 and Donghak Gasa published by Sangju. However, 「Chaejiga(採芝歌)」, which is a series of 6 Gasa, is included equally. The formation process of this series as a Donghak Gasa is not clear, and it is currently used a lot for the purpose of spreading the thought of the Jeungsan-gyo, so it is a reality that it has been used continuously in modern times with its identity as a Donghak Gasa questioned. For this reason, for a clear arrangement, the characteristic aspects of the different versions of the 「Chaejiga」 series are arranged through a bibliographical review, and the contents of the series, which are overly interpreted with religious connotations, are compared with Su-woon's Gasa to find homology. Focused on revealing interpretable narrative aspects centering on the world of works. Through this review, it was intended to emphasize that 「Chaejiga」 has affinity with Donghak Gasa and that its current usage is related to the background formed under the magnetic field of Donghak Gasa. The formation and spreading of different versions of 「Chaejiga」 appeared in the background of popularizing the discourse of Korean religion after Donghak, and it was confirmed that the series of 6 Gasa had been enjoyed in the form of an independent yet close series. In addition, in the content of works, attention was paid to the aspects of ‘aim for an ideal world through the integration of Confucianism and various ideas’ and ‘awareness of national suffering and the role of religion’. The ideological orientation of Donghak, who dreamed of an ideal society like ‘the thought of South-Chosun’ amidst the ordeals and crises of the times, was melted into this series in some forms. In later history, it produced an inclusive result in which it merged with the ideas of other Korean religions.