「武夷櫂歌」 수용양상과 陶山九曲詩의 성향

Abstract

This study set out to critically review the accomplishments of the existing studies that offered a variety of discussions about the acceptance patterns of "Muidoga" during Joseon and set up an independent theory. The findings were summarized as follows:First, the existing studies classified the acceptance perspectives of "Muidoga" into Ipdojache⋅Takheunguui⋅Inmulgiheung and Inmulgiheung⋅Ipdojache, but the classification was characterized by ambiguous criteria and compared correlatives with wrong layers, thus losing its persuasive power and requiring reconsideration. Second, it seems valid that the acceptance perspectives of "Muidoga" during Joseon should be divided into Inmulgiheung and Takheunguui. The most representative figure that advocated Inmulgiheung was Gi Dae-seung, and his counterparts on the side of Takheunguui were Kim In-hu and Jo Ik. Considering the old rhetoric, Inmulgiheung and Takheunguui focused on Heung and Bi, respectively. In short, the acceptance perspectives of "Muidoga" were dependent on whether it was basically Bi or Heung. While the advocates of Ipdojache saw it as Bi, its opponents saw it as Heung. Third, Lee Hwang's acceptance perspective of "Muidoga" basically saw it as Heung as in Inmulgiheung, but he argued that only No. 9 Gok poem had the meanings of Bi as Takheunguui. He reckoned that No. 9 Gok contained Uui seeking after Myocheo again, not being Geukcheo, for which he voiced different opinions from Gi Dae-seung and had a dispute with him. His opinions, however, were not agreed on by Song Si-yeol, Lee Ik, and Jo Sul. Thus it is not right to say that Lee Hwang's acceptance perspective of "Muidoga" was solely in the line of Takheunguui. It is not true either that his theory was a compromise between the two or an advanced one from them. Finally, the study further examined how Lee Hwang's perspective was accepted in the Dosangugok poems created in later days and found the following tendencies: only eight of 18 Dosangugok poems created by 18 people in the 19th century accepted Lee Hwang's perspective of assuming Myocheo, whereas the remaining ten revealed a perspective of regarding No. 9 Gok as Geukcheo and not pursuing Myocheo. Given that more than a half of the Dosangugok poets exhibited a perception that No. 9 Gok was Geukcheo, it is apparent that the position of regarding No. 9 Gok as Geukcheo was universally accepted within the Toigye School rather than his assumption of Myocheo in No. 9 Gok poems.