동야(東埜) 김양근(金養根)의 시조 한역 양상과 그 의미

Abstract

In this paper, the author tried to analyze the motives and patterns of the Translation of Sijo to classical Chinese by Dongya (東埜) Kim Yang-Geun (金養根, 1734~1799), and then analyze the Sijo's historical meaning of the translation of Sijo to classical Chinese in the middle and late 18th century. In his book of writing, 『Dongya-Jip(東埜集)』, 64 Sijos translated to classical Chinese are contained under the title 「Dongjo(東調)」. In particular, the preface of 「Dongjo」 reveals his aspect of recognizing that Sijo's value lies in expressing the secret of nature. He presented the view that it would not lack if they could feel it even if they didn't know the tune. He left a trace of striving to deliver the true emotion in Sijo by playing a large number of Sijos comparable to that of song book. Therefore, it can be said that Kim Yang-Geun played Sijo not only to edify customs but also to promote Sijo's value and pursue the truth inside. On the other hand, when review the listing system of 64 Sijos in 「Dongjo」, Sijos translated into classical Chinese were listed along with other pieces of music, and was classified into the subjects of 15 items. It is also discovered that the works of the artists whose name were listed in 『Cheonggu-Youngeon(靑丘永言)』 were remarked. This aspect shows that the cultural maturity of the mid－and late of the 18th century, that is, Gagok-chang(歌曲唱), and the Chinese poem, music, long-song, and short song harmonized together didn't need to be distinguished between Chinese songs and Korean songs. It can be said that Kim Yang-Geun tried to reproduce the meaning and expression of Sijo using the 6 lines long and short term format(6句體 長短句) recognizing that Sijo's value lies in expressing the secret of nature. Therefore, it will not be surprising that Kim Yang-Geun reproduced Sijo's form, rhythm, expression, and theme based on the 6 lines long and short term format. However, he had a slight refraction. When Kim Yang-Geun, who tried to convey the true emotion in Sijo, projects his life and emotions to the truth, an expression suggesting a translator's existence was added, and refraction occurred. The first question in this thesis is where was the driving force that the Translation of Sijo to classical Chinese became active in the 18th century when the “Sijo Collection Era” was “Golden Days of Changgok? In response to this, Kim Yang-Geun's Translation of Sijo to classical Chinese expanded the Sijo culture in the 18th century, when Sijo's creation and enjoyment were at its heyday. In the 19th century, when Sijo was transformed into Changgok, translation of Sijo to classical Chinese was inevitably degraded as a means of verbal translation. As a reaction, it suggests that such translation became a platform for innovation in poetry, a medium for new creation. In conclusion, Kim Yang-Geun enjoyed the true emotion contained in Sijo and sang his sincerity through the translation of Sijo to classical Chinese, that is, participating in artistic acts reveals the maturity of Sijo culture in the middle and late of the 18th century.