화투놀이의 전승 과정과 관련 가요의 문예적 특징

Abstract

In this paper, the literary characteristics of songs related to the transmission process of Korean hwatu(花鬪) were examined. The reason for writing this thesis was that a new gasa called <Hwatuga(花鬪歌)> came out among the data I collected. Now, the folk song <HwatuTaryeong(화투타령)> and the gasa <Hwatuga> exist as hwatu-related poetry. At the end of the 19th century, hwatu was introduced into Korea from Japan. However, hwatu did not originate in Japan. Modeled after the Portuguese carta of the 16th century, it became the Japanese “hanafuda(花札, はなふだ)” after several stages. This came to Korea and became a hwatu(花鬪). Although Korean hwatu is closely related to Japanese Hanafuda, they are not homogeneous. This is because Korean hwatu has changed quite a bit from the name to the way of playing and furthermore to the culture of play. During the Japanese colonial era, as hwatu spread among the common people, folk songs that used it as a material appeared. The people sang songs in the names of <Hwatu Taryeong>, <Hwatu Song>, and <Hwatu Play>. These folk songs show national aspects, and currently more than 100 songs are built as archives. The names of these Hwatu-related folk songs were slightly different, but there was no big difference in the nature of the work or the content of the song. These folk songs were dalgeori method in which lyrics were added along with symbolic signs representing each month of Hwatu. The way of expression also uses language play, and every month, it is a song with the same consonant as the symbol of the hwatu. By extracting the lyrics and examining the inner mood of the poetic self through vocabulary, mournful or lonely was the mainstream. On the other hand, the key phrase of folk songs related to Hwatu was considered to be in the conclusion. This part is because the words of the song changed a lot depending on the intestines. The modern gasa <Hwatuga> were written in 1966 by a person named Ju Won-taek (朱元澤, 1906 ~ ?) living in Daegu. The method of main writing is Chinese language, and the length corresponds to medium-sized gasa. In the gasa <Hwatuga>, the poetic narrator observes and describes with interest the hwatu play called 'Six Baek(六百)', which was popular at the time, from outside the work. This contrasts with the characteristics of lyrically capturing the inner psychology of the persona through monthly pictures of hwatu in folk songs related to hwatu.