15세기 말에서 16세기 초 경기체가 장르의 정서 변화에 대한 고찰

Abstract

This paper examines a sensibility change in Gyeonggichega poems until they disappeared. This change sign began to appear in the end of 15th century to the early 16th century prior to the times of Ju Se-bung and Gwon Ho-mun. Such changes can be perceived in such works as Jeong Geuk-in's <Buruheongok>, Kim Gui-i's <Hwajeonbyeolgok>, and Yi Bok-no's <Hwasanbyeolgok> and <Guryeongbyeolgok>. To that end, works were examined in terms of two viewpoints, namely, poem line arrangement method, and authors' hierarchical position and world views. When authors have their desires come true, or are determined to expose themselves for their own desires, the sensibilities of praise and ostentation are strongly displayed. When their desires conflict with the reality or different elements intervene in such conflict, the sensibilities of praise and ostentation take a different form. The three authors' Gyeonggichega were each found to be different examples of which sensibilities the Gyeonggichega genre, deviated from the royal musical movements, can expose according to authors' position and world views. They are similar in that they did not serve long in government offices, and their works all highlight their rural life sensibilities. Yet, the works of Jeong Geuk-in and Kim Gu more strongly show their lingering affection toward their government life, while Yi Bok-no's works considerably show orientation toward scholars engaging in rural life. To understand their sensibilities, it is necessary to know the sensibilities of the line arrangement method of <Hallimbyeolgok>, <Gwandongbyeolgok> and Fisher's Song. The diverse sensibilities of these works presumably motivated Confucian literati - who pursued natural poems through rural life in the 16th century - to utilize Gyeonggichega.