이 글은 조선조 후기의 여러 시가 갈래나 작품들이 동일하거나 유사한 사설을 공유하는 현상이 시가 문학의 근대적 태동에서 어떠한 의미를 함축하고 있는지를 밝히는 데 목적을 둔다. 이를 위해 먼저 민요, 무가, 평시조, 사설시조, 한시, 가사, 판소리, 잡가가 사설을 공유하는 양상을 선행 연구들에 기대어 확인하였다. 나아가 aaba형 措辭, 병렬적 통사 구조와 같이 여러 갈래들에 공통으로 나타나는 사설 엮음의 원리를 통해 사설 공유의 근저에서 작동하고 있는 작시법도 공유하고 있음을 확인하였다. 상이한 갈래의 작품들이 사설과 사설 엮음의 원리를 공유한다는 것은 원칙적으로 구술문화의 소산이다. 특히 시가는 노래로 향유된다는 조건으로 인해 사설의 공유는 필연적인 현상이었다. 그런데 이는 시가의 근대화라는 문학사적 흐름과는 조화롭게 어울리지 않는다. 근대성이란 個我 의식을 필수적인 요건으로 하여 성립되기 때문이다. 이 시기 시가에서 근대성을 보여주는 지표가 없는 것은 아니다. 주의식과 같은 일부 시인에 의해 시도된 패러디가 그것이다. 이는 사설을 공유하는 보편적인 현상을 보여주면서도, 동시에 선행하는 텍스트와의 비평적 거리를 유지한다는 점에서 근대성의 맹아를 함축하고 있는 문학 행위라 할 수 있다. 18～19세기에 나타난 이러한 문학 현상은 민요와 같은 순수 구비시가만을 향유하던 계층들이 태생적으로 문자문학의 성격을 지니게 되는 상층의 문학을 자신의 것으로 받아들였음을 입증하는 증거이기도 하다. 이는 ‘문학의 대중화’ 혹은 ‘문학의 민주화’라는 흐름을 상징적으로 대변해준다. 동시에 이는 문학 창작이 상층에 의해 독점되던 시기에 그 산물의 수용자에 머물던 하층민들이 문학 생산자로 위상을 변화시켜 갔음을 보여주는 한 표지로 간주할 수 있을 것이다. 21세기의 독자들은 인쇄문화의 폐쇄성에 억압되어 있던 20세기 독자와 달리 스스로 문학을 즐기고 생산하는 주체로 거듭나고 있다. 이런 점에서 18～19세기 독자들은 21세기 독자들의 오래된 미래라 할 수 있을 것이다.

The purpose of this study is to clarify what is the literary and historical meaning of the aspect that the different historical poetry genre share same or similar poetic diction in the 18～19th century Chosun Period. For this purpose, in the first place the aspect was confirmed by the prior studies that the joint ownership of poetic diction between folksong, shaman's song, pyeonsijo, saseolsijo, Korean Chinese poetry, gasa, pansori. japga etc. In addition, it was confirmed that these genres shared the composition principle of poetic diction. It is an outcome of oral culture that different genres and different texts share the poetic diction and composition principle. Especially joint ownership of poetic diction is necessary, because poetry in those days was performed as song. By the way, it don't go with modernization of poetry. Because modernity essentially comes into existence with individualism. There was index representing modernity of poetry in those days. It was the parody tried by few poets for example Ju Eui-sik(주의식). On one hand the parody in those days was a joint ownership of poetic diction, on the other hand it was literary aspect implicating the sign of modernity in that it retained critical distance from prior texts. These was also evidence showing that the lower class people having performed only original oral poetry accepted upper class literature. It represented popularization or democratization of literature. At the same time it was a index showing that the lower class people, the acceptor of literature elevated their status. Then they were the producer of literature. Contrary to the 20th century readers pressed by press culture, the 21st readers reborn as the subject who enjoying and producing voluntarily. In this respect the readers of 18～19th is the 'ancient future' of 21st readers.

The purpose of this study is to clarify what is the literary and historical meaning of the aspect that the different historical poetry genre share same or similar poetic diction in the 18～19th century Chosun Period. For this purpose, in the first place the aspect was confirmed by the prior studies that the joint ownership of poetic diction between folksong, shaman's song, pyeonsijo, saseolsijo, Korean Chinese poetry, gasa, pansori. japga etc. In addition, it was confirmed that these genres shared the composition principle of poetic diction. It is an outcome of oral culture that different genres and different texts share the poetic diction and composition principle. Especially joint ownership of poetic diction is necessary, because poetry in those days was performed as song. By the way, it don't go with modernization of poetry. Because modernity essentially comes into existence with individualism. There was index representing modernity of poetry in those days. It was the parody tried by few poets for example Ju Eui-sik(주의식). On one hand the parody in those days was a joint ownership of poetic diction, on the other hand it was literary aspect implicating the sign of modernity in that it retained critical distance from prior texts. These was also evidence showing that the lower class people having performed only original oral poetry accepted upper class literature. It represented popularization or democratization of literature. At the same time it was a index showing that the lower class people, the acceptor of literature elevated their status. Then they were the producer of literature. Contrary to the 20th century readers pressed by press culture, the 21st readers reborn as the subject who enjoying and producing voluntarily. In this respect the readers of 18～19th is the 'ancient future' of 21st readers.

poetry of post-Chosun, joint ownership of poetic diction, composition principle of poetic diction, modernity of poetry, parody, press culture