새로운 가사작품 <송비산가>에 대하여

Abstract

This study discussed new gasa <Songbisanga>. First of all, the background of the work and the writer’s intention were examined. From the characteristics of works contained in the book and the review of different versions, we confirmed that <Songbisanga> was written by Lady Kwon from Andong who grew in Hapcheon and belonged to the Namin Group, and that gasa works of ‘Songbisanga’ style created in this way were transmitted to the Hadong region and corrected by a transcriber who belonged to the Noron Group and, as a result, transcribed into the extant <Songbisanga>. <Songbisanga> has two different versions titled <Songbiga> and <Songbisanyusyangga>, respectively. When the different versions were compared, <Songbiga> did not include any contents not found in the other versions, so it was excluded from discussion. On the contrary, <Songbisanyusyangga> and <Songbisanga> had contents not found in or different from each other, so they needed to be supplemented by each other adequately. In <Songbisanyusangga>, however, there was no full description about the tour of Mt. Songbi and even the ending was omitted, showing lack of completeness. In contrast, <Songbisanga> was regarded as most complete as it depicted destinations and even the return trip in detail. In the aspect of form, <Songbisanga> is a long gasa consisting of 373 phrases. The major meters are 3/4 and 4/4. The structure of this gasa is ‘Introduction – Main Part 1 – Main Part 2 – Main Part 3 – Ending.’ The introduction tells about the motives of the tour. The main part, which consists of three sub‐parts, records impressions felt from the trip to Mt. Songbi, dividing it into Okgyeong, Inse, and today’s Mt. Songbi. In the ending, the writer pledges another trip in the future and explains the return trip. In conclusion, the meaning of <Songbisanga> is found in that it is women’s poetic prose of pung style and soyeong style recording the writer’s feelings during a trip to Mt. Songbi and is a new transcription that has never been introduced or studied. In particular, this work is not limited to the depiction of the scenery of Mt. Songbi but includes concerns over the family, yearning for the hometown and parents, and ethical sentiment as a woman. Moreover, this work has a literary significance in that it shows a type of women’s gasa on travels.