본고에서는 아직도 학계에서 연구가 활발히 이루어지지 못하고 있는 한문시가에 대해 보다 깊은 논의를 진행하기 위한 전제로 먼저 그 개념과 범위를 문인층과 승려층으로 나누어 소개한 후, 한문시가 내에서 악장이란 영역이 갖고 있는 의미를 추적하여 한문시가와 한시의 접점을 찾고, 이를 통해 이 둘 사이의 보다 세밀한 영역 구분을 시도해보고자 했다. 또한 한문시가가 각 시대별로 국문시가의 여러 장르와 서로 영향 관계를 맺어나간 양상을 파악해보았는데, 이에 있어서는 시대에 따른 궁중 악제의 변화와 각 시대마다 시가 장르를 기록할 때 어떠한 문자들을 주된 표기 양식으로 사용했는가 하는 문제가 중요한 관건으로 대두되었다. 특히 아악, 당악, 속악으로 구분되는 궁중 악제가 각 시대에 따라 어떠한 특징을 지니고 변화해가는가 하는 문제는 한문시가와 국문시가 모두에 영향을 끼치며 그 둘의 관계항을 규정짓는 중요한 조건으로 작용했기에 그 양상에 대해 자세히 살펴보고자 했다. 한문시가는 전반적으로 궁중 악장의 편제와 밀접한 관련을 맺으면서 그 전통을 이어왔다고 생각된다. 이러한 시각에서 바라보면 궁중 악제가 본격적으로 정비된 것이 고려시대 와서의 일이고 조선후기 이후로는 민간악의 영역이 당대 음악의 중심이 되어간 사실에 비추어볼 때 고려시대에 한문시가가 가장 활발하게 창작되고 향유된 것은 너무나 당연한 것으로 여겨진다. 그런데 궁중 악장의 편제에 영향을 받는 것은 한문시가만이 아니라 국문시가의 경우도 마찬가지이다. 삼국시대와 통일신라시대에 고대가요 몇 편과 향가를 제외하고는 별 장르를 찾아보기 어렵다가 고려초기 악제가 아악, 당악, 향악으로 정비된 이후로 고려가요, 경기체가, 어부가 계열의 장르들이 쏟아졌다. 시조와 가사의 형성 시기를 고려말로 보는 주장은 이제 거의 학계의 정설이 된 듯하니 시가사에 있어 고려시대의 중요성은 참으로 크다. 조선초기에 이루어진 악제의 재정비는 당악의 향악화를 중심으로 진행되면서 추후 한문시가의 쇠퇴를 이끌어냈다. 그러나 조선후기에 이르러 시조와 가사를 비롯한 정악과 잡가, 판소리, 민요 등의 민속악을 주류로 한 민간악 중심으로 시대의 흐름이 달라지자 궁중악은 음악사에서 점점 그 존재가 약화되기에 이른다. 이렇듯 한문시가와 국문시가가 궁중 악제 편제의 영향 하에서 유지돼온 것은 중세까지 지식층에 의해 문학사가 주도되어 온 사실에 비추어보면 지극히 자연스런 일이기도 하다. 이렇게 궁중 악제의 영향을 동시에 받으면서도 내부적으로 한문시가와 국문시가는 당대의 주도적 표기문자에 의거하여 서로의 자리를 구축 혹은 변화시켜 나갔다. 궁중 악제를 중심으로 한 음악사의 추이와 각 시대마다 주도적 역할을 한 표기문자의 관계항 속에 한문시가는 국문시가와 길항관계를 맺으며 그 사적 흐름을 이어갔다고 볼 수 있겠다.

Chinese writing song(漢文詩歌) is the form of a song which was transcribed with Chinese writing or Hyeontoche(懸吐體). It was written by the intellectual class, the literary men and the clergy in the mode of singing or recitation. The purpose of this paper is, firstly to define the field of Chinese writing song by inspecting the mode of enjoyment, secondly to analyze the relations between Chinese writing song and Korean writing poems and songs(國文詩歌), and finally to clarify the literature historical meaning of Chinese writing song connected with musical system of the Royal Court. Chinese writing song is more broad category than genre; therefore, it includes many genre, and we can study on Chinese writing songs according to the genre. For Chinese writing song written by the intellectual class, Aakgasa(雅樂歌詞) and Gooho(口號) had not changed much from Chinese style, while Dangakgasa(唐樂歌詞) had gone through a big change. The genres of Zeng song(禪歌) and hymn(讚) among the songs written by the clergy had constantly changed. It is considered that some of the genres from Chinese writing song had come to take the form of Korean writing poems and songs after going through some change. We can verify that there are elements of Hyangak(鄕樂) in the Dangakgasa such as <Poongyipsong(風入松)>, <Yasymsa(夜深詞)>. This transformaton phenomenon had become more significant in the works like <Jahadong(紫霞洞)>, Kyeonggichega(景幾體歌) and Eobuga(漁父歌). In addition, Chinese writing song had an influcence on Korean writing poems and songs. This kind of influence can be easily seen in Goryeosokyo(高麗俗謠), Gasa(歌辭) and Akjang(樂章) in early Choseon. The literary significance of Chinese writing song can be appreciated when we divide our history of poems and songs according to the mode of writing. Our history of siga literature can be divided into three periods; 'Mixed spoken language transcription period, written language transcription period and spoken language transcription period. Goryeo dynasty falls into the written language transcription period, during which Hyangchal(鄕札) had declined and the Korean alphabet had not been developed yet. That is why Korean writing poems and songs were translated into Chinese writing and Chinese writing song became popular. The new types of Chinese writing song which was appeared during the period were Dangakgasa and Zen song. Compare to Korean writing poems and songs written in the spoken language, it was more difficult to sing Chinese writing songs since they were written in Chinese writing which takes the form of a written language. Moreover, Chinese writing song did not have the song characteristics of Korean writing poems and songs. This resulted in the change of these genres to get the characteristics of Korean writing poems and songs.

Chinese writing song(漢文詩歌) is the form of a song which was transcribed with Chinese writing or Hyeontoche(懸吐體). It was written by the intellectual class, the literary men and the clergy in the mode of singing or recitation. The purpose of this paper is, firstly to define the field of Chinese writing song by inspecting the mode of enjoyment, secondly to analyze the relations between Chinese writing song and Korean writing poems and songs(國文詩歌), and finally to clarify the literature historical meaning of Chinese writing song connected with musical system of the Royal Court. Chinese writing song is more broad category than genre; therefore, it includes many genre, and we can study on Chinese writing songs according to the genre. For Chinese writing song written by the intellectual class, Aakgasa(雅樂歌詞) and Gooho(口號) had not changed much from Chinese style, while Dangakgasa(唐樂歌詞) had gone through a big change. The genres of Zeng song(禪歌) and hymn(讚) among the songs written by the clergy had constantly changed. It is considered that some of the genres from Chinese writing song had come to take the form of Korean writing poems and songs after going through some change. We can verify that there are elements of Hyangak(鄕樂) in the Dangakgasa such as <Poongyipsong(風入松)>, <Yasymsa(夜深詞)>. This transformaton phenomenon had become more significant in the works like <Jahadong(紫霞洞)>, Kyeonggichega(景幾體歌) and Eobuga(漁父歌). In addition, Chinese writing song had an influcence on Korean writing poems and songs. This kind of influence can be easily seen in Goryeosokyo(高麗俗謠), Gasa(歌辭) and Akjang(樂章) in early Choseon. The literary significance of Chinese writing song can be appreciated when we divide our history of poems and songs according to the mode of writing. Our history of siga literature can be divided into three periods; 'Mixed spoken language transcription period, written language transcription period and spoken language transcription period. Goryeo dynasty falls into the written language transcription period, during which Hyangchal(鄕札) had declined and the Korean alphabet had not been developed yet. That is why Korean writing poems and songs were translated into Chinese writing and Chinese writing song became popular. The new types of Chinese writing song which was appeared during the period were Dangakgasa and Zen song. Compare to Korean writing poems and songs written in the spoken language, it was more difficult to sing Chinese writing songs since they were written in Chinese writing which takes the form of a written language. Moreover, Chinese writing song did not have the song characteristics of Korean writing poems and songs. This resulted in the change of these genres to get the characteristics of Korean writing poems and songs.

Chinese writing song, musical system of the Royal Court, Korean writing poems and songs, history of siga literature