‘현대시조’라는 이념과 ‘율’의 문제 ― 안확의 『時調詩學』(1940)을 중심으로

Abstract

The present study began with interest in the discourses of modern Korean Sijo (verse) in 1920s through 1940s, during which modern Korean Sijo was born or started to be written. Until now, most of the studies on modern Korean Sijo have paid more attention to the discussions of Sijo revivalists and less to Sijo Theory of Jasan An Whak. However, An Whak's 'Sijo Sihak (Poetry)' is worth paying attention to because it was then 'the first research paper of Sijo', which is practical and scientific, and a Sijo theory that was researched based on the royal collections. Sijo revivalists maintained the origin of modern Korean Sijo is the ancient Korean Sojo (Shijo-chang; chang means Korean traditional narrative song) and sought for a new form of Chosun poem by removing melodies from Shijo-chang. They did so because they were given a challenge of the times to plan and find a modern form of Chosun poem, which contains all of tradition, continuity, and ethnicity of Chosun. Eventually, they faced a hard issue of ‘Yeul (scale)', which is a key requirement of a poem. While Cho Yoon-jae suggested statistics for ‘Yeul (scale)' of ancient Korean Sojo and Lee Bung-ki proposed 'Domak (part form)', An Whak put forth ‘melody' as unchangeable pattern' of ancient Korean Sojo, emphasizing the musicality of Chosun Sojo to the end. Unlike Sijo revivalists, An Whak understood that melody was about equal beat and arranging dynamics. In other words, melody was what is created by rhythms of sounds. To all of them, they needed a difference of Chosun Sijo from new poem and a Chosun-exclusive literature genre. Therefore, the act of composing Sijo itself became a, ideological symbol for sharing the same ethnic identity. That is, ‘modern Korean Sijo’ was not the substance of a literature genre, but ideology.