敬窩 金烋의 古樂府 짓기

Abstract

Kim Hyo (1597–1638), in his collection Gyeongwajip (敬窩集), includes 22 titles and 30 pieces of Goyakbu (古樂府), a traditional Chinese-inspired poetic form. This is a significant number of works within the entire collection, especially since they are separated under the heading "Goyakbu" as a distinct section. This is particularly noteworthy because these works were written during Kim Hyo’s youth and by an individual who spent his entire life in the Yeongnam region, without any substantial connection to the capital or central power. Upon examining the Goyakbu works in Gyeongwajip, three main characteristics emerge. First, there is the flexibility in the poetic titles; second, the representation of imagery found in Chinese Goyakbu; and third, the repetition of phrases and their transformation into refrains or rhythmic units (jangdangu). Kim Hyo’s ability to compose a considerable number of Goyakbu poems in his youth may have been influenced by the prevailing trends in 17th-century Joseon poetry, such as the popularity of Tang poetry (唐詩) and the scholarly atmosphere surrounding the study of ancient Chinese poems (Goshi). Additionally, his own reading experiences and his father’s involvement in composing poetry and songs likely played a significant role in shaping his poetic abilities. While Kim Hyo may have had innate poetic talent, his understanding of musical rhythm, as well as the creative culture of song and poetry within his family, clearly influenced his Goyakbu compositions. In this sense, his Goyakbu works are notable as a potential bridge between classical Chinese poetry and Korean literature, especially in terms of their musical potential. The possibility of performing these poems through song is closely linked to the repetition of phrases and the active use of rhythmic structures, which depart from the rigid 5- and 7-syllable format typically seen in classical Chinese poetry. Instead, Kim Hyo often employed a more flexible structure, incorporating non-standard lines (jabeon/jangdangu). Moreover, considering the flourishing of Gasa (歌辭) literature and poetic creation in the Yeongnam region during the 17th century, Kim Hyo's Goyakbu works also present a valuable opportunity to reconsider the direction of Akbu (악부詩) studies. Since Goyakbu is inherently tied to song and musical performance, focusing on the boundary between oral and written expression in these works would undoubtedly be an interesting research endeavor.