維鳩曲의 해석과 伐谷鳥 · 布穀歌와의 관계
Yugugok, Beolgokjo or Pogokga: Their Meanings and Relationship
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This paper explains how to read Yugugok維鳩曲 of which writer has not been known but treated as one of Goryeogayo高麗歌謠, and how to appreciate the relation between Yugugok and Beolgokjo伐谷鳥 or Pogokga布穀歌 of which writer was Yejong睿宗, the 16th king of Goryeo Dynasty. Firstly, it notices that collared doves have different cries and shapes from doves but similar ones to cuckoos, and interpret the lingual text of Yugugok as follows; A collared dove songs, “Even though loud cries continue I like cuckoos.” According to this interpretation, secondly, it debates if the three names could be referred to the same song and infer two probabilities from several materials. One of the two is that a collared dove in terms of literary convention could be a metaphor of king or emperor like Yejong; the other is that Yugugok could be performed as a music repertory for official parties in which the king faces south and vassals sit or stand east and west facing each others. As a result, thirdly, it finds the reason why the lingual text includes refrains at its beginning and end. Lastly, it concludes that the hypothesis the tree name are referred to the same song is true.
Abstract
This paper explains how to read Yugugok維鳩曲 of which writer has not been known but treated as one of Goryeogayo高麗歌謠, and how to appreciate the relation between Yugugok and Beolgokjo伐谷鳥 or Pogokga布穀歌 of which writer was Yejong睿宗, the 16th king of Goryeo Dynasty. Firstly, it notices that collared doves have different cries and shapes from doves but similar ones to cuckoos, and interpret the lingual text of Yugugok as follows; A collared dove songs, “Even though loud cries continue I like cuckoos.” According to this interpretation, secondly, it debates if the three names could be referred to the same song and infer two probabilities from several materials. One of the two is that a collared dove in terms of literary convention could be a metaphor of king or emperor like Yejong; the other is that Yugugok could be performed as a music repertory for official parties in which the king faces south and vassals sit or stand east and west facing each others. As a result, thirdly, it finds the reason why the lingual text includes refrains at its beginning and end. Lastly, it concludes that the hypothesis the tree name are referred to the same song is true.
참고문헌 (29)
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