「今俗行用歌曲」의 한역 양상

Abstract

This paper investigated the characteristic aspects of “Kumsok-haengyong-gagok” with regard to its way of translating sijo, a Korean poetic genre, to classical Chinese. Firstly, it reconsidered the original sijo texts of “Kumsok-haengyong-gagok”. Secondly, it reanalyzed the structure of the translated works and studied the characteristic formal feature. Lastly, it examined the meanings of each title of the works. With all these considerations, this paper concluded that “Kumsok-haengyong-gagok” mostly translated sijo literally, not deforming it for any literary purpose. The works in “Kumsok-haengyong-gagok” have similar forms to the original sijo texts, consisting of 6 phrases. The length of each line of translated works also fits into the metrical feature of the original sijo texts. Furthermore, the titles of each work imply the contents of the poetic works, even though they occasionally borrowed some titles of a Chinese classical poetic genre. In conclusion, “Kumsok-haengyong-gagok” was focused on representing the original sijo texts; it contained the contents as well as forms of the sijo works, and it also used the titles that coincide with the meanings of the poetic works. “Kumsok-haengyong-gagok” was a systematical work by which Lee Hyoung-sang collected his contemporary sijo works in Confucian perspective in terms of literature and music. The characteristics of “Kumsok-haengyong-gagok” was formed in keeping such a purpose.