송강가사의 시간성과 극적 구조

Abstract

This paper compared the temporal structure of Songgang-kasa to the other kasa poems of the time and investigated its dramatic characteristics. Song Sun's Myoun-ang-jeong-ga and Paik Kwanghong's Kwan-seo-byoul-gok were selected as the kasa poems that had strong influences on Songgang-kasa. The temporal structures and generic features of these works were investigated and compared to Songgang-kasa. Songgang-kasa represents dramatically various thoughts and emotions that collide among themselves and induce inner conflicts through its temporal structure. It transforms the circular and physical time structure of Myoun-ang-jeong-ga and Kwan-seo-byoul-gok to form its genuine dramatic structure. In Seong-san-byoul-gok, one of the kasa poems in Songgang-kasa, the ideal and eternal present of the circular time is twisted in the later part of the work and contrasted drastically with the irrational human history of the past. The events in Kwan-dong-byoul-gok, another kasa poem in Songgang-kasa, are narrated in the physical time order, while psychological time that aims towards the past or the future is developed polyphonously. In Sa-mi-in-gok and Sok-mi-in-gok, the other kasa poems in Songgang-kasa, the poetic speakers variate and deepen their solitude and longing in the ruptured circular time when the poetic subjects are isolated from the outer world. Likewise, the pieces of Songgang-kasa express and deepen the poetic speakers' emotional conflicts through the temporal structures of the works and make readers experience the depth of human mentality in which the consciousness is intertwined with unconsciousness, and intention with desire. The dramatic structure of Songgang-kasa is shifted into an emotional breakthrough at the end of the work. The poetic speakers' contradictory mentality enhanced by the dramatic structures of the poems always pursues a sort of emotional solution: Dionysian delight with music and alcohol, dream and daydream. In Seong-san-byoul-gok, the poetic speaker escapes to the ideal time by the help of alcohol and music. In Kwan-dong-byoul-gok, the speaker achieves in advance his positive future through his dream. In Sa-mi-in-gok and Sok-mi-in-gok, the female poetic speakers transcend their tragedies, which have once seemed eternal, through the daydream of death and incarnation. Jeong Cheol, the author of Songgang-kasa, intended the imaginary transcendence by the help of alcohol and music, of dream and daydream to recover the lyrical self's identity. Songgang-kasa presented the depth of human mentality, which had never been expressed in its previous kasa poems, through the dramatic structure and transcendental ending. Jeong Cheol, the poet of pathos, offered the vision in which his contradictory thoughts and emotions went through struggles and were sublated by the power of imagination.