본고는 경기체가 <오륜가>와 시조 <오륜가>를 대상으로 하여 조선 전기 시가사의 주요한 지류 중 하나였던 <오륜가>가 선초의 다단한 시가史적 흐름 속에서 어떠한 相異한 양태들을 보이는가에 대해 탐색하고자 하였다. 특히 조선 건국 이후 지속적으로 전개된 樂章 정비의 과정에서 잉태하게 된 경기체가 <오륜가>가 작품에 대한 구체적인 검토의 과정이 결여된 채, 16세기 시조 <오륜가>와 동일 선상에서 해석되어 온 그간의 연구 성과들에 의문을 제기하고, 이 두 작품을 각각이 지닌 장르적 속성이나 창작 목적, 작품에 내재한 일정한 방향성 등의 차원에서 변별해 보고자 하였다. 그 결과, 양자 사이에는 활용된 장르의 차이만큼 작품을 창작한 궁극적 의도, 상정된 수신자, 작품 전반을 관류하는 내적 분위기, 창작자가 기반하고 있는 현실에 대한 인식 등 여러 가지 면에서 무시할 수 없는 간극이 존재하고 있음을 확인하였다. 먼저, 경기체가 <오륜가>의 경우 그 장르적 속성상 긍정적이고 낙관적인, 혹은 노래의 연행을 통해서 그러한 분위기를 창출해 낼 수 있는 세계상만을 그려낼 수밖에 없다. 본 작품의 실체적 면모 역시 ‘오륜’이라는 당위적 질서에 대한 권고 내지 촉구보다는 각각의 인륜적 질서들이 완비되어 있는 합리적 세계, 그리고 그러한 세계의 무궁함에 대한 기원과 송축의 염원들, 이와 더불어 그것의 순차적 확인으로 인해 생기게 되는 高揚된 감정들을 묘파하는 데에 보다 많은 비중이 놓여 있는 것으로 보인다. 시조 <오륜가>의 경우, 경기체가 장르가 그 내부적 속성상 불가피하게 가질 수밖에 없는 上記의 이유로 인해 시조 <오륜가>의 창작 주체인 사림파 문인 지식인들이 ‘노래’에 대해 갖고 있었던 일종의 기대지평을 충족시킬 수 없었고, 이로 인해 당대에 병존해 있던 몇몇의 장르들 중 택일된 것으로 판단하였다. 요컨대 시조 <오륜가>의 창작 주체들은 자신들이 놓여 있던 당대의 時空을, ‘오륜’이라는 당위적 질서가 부재하는 부정적인 현실로 인식하였고, 따라서 시조 <오륜가> 속에는 그러한 현실을 교화․개선하고자 하는 그들의 확고한 의지가 일정하게 투사되어 있다는 것이다. 한편, 필자는 경기체가 <오륜가>와 시조 <오륜가>가 비단 장르 상의 차이만이 아니라 이들 각각이 기대고 있는 고전적 원천에 있어서도 명확히 구별된다는 것을 확인하고자 하였다. 전자의 경우, 『시경』을 그 주요 원천으로 삼고 있으며, 후자의 경우는 비록 『소학』과 정확히 일치하는 부분이 많지 않다 하더라도 그 내부적 체계나 지향, 목적, 질서 등에 있어서는 동일한 방향성을 갖고 있는 것으로 보았다. 아울러 이러한 고전적 원천의 상이가 작품에 대한 창작 주체들의 기대지평, 즉 작품의 효용적 측면에 대한 기대의 상이에서 비롯된 것임을 언급하였다.

This thesis has explored <Oryunga>, a main stream of the early Chosun history of poetry-song, which had had a different forms and types in the early Chosun when there was complex history of poetry-song by examining particularly the Kyungkichega <Oryunga> and Sijo <Oryunga>. In particular, it has attempted to raise questions on the previous researches that interpreted Kyungkichega <Oryunga>, originated in the course of the restructuring of Ahkjang(樂章), ceaselessly conducted in the early Chosun, as being in the same vein of Sijo <Oryunga> in the 16th century, without concrete account of the work, and to distinguish them in terms of the nature of their genre, the purpose of their creation, and the certain values and direction embodied in them. As a result, it has been identified that between the two works is a significant gap in many respects such as the use of genre, the ultimate intention to create, the assumed readers, the entire atmosphere of the works, and the view of the writer on the reality. First, in the case of Kyungkichega <Oryunga>, the thesis argues that it was unavoidable for the writer, by the nature of its genre, to describe only the positive and optimistic world or that kind of atmosphere of the world that can be created through the performance of songs. The main focus of the work seems to be on the rational world where each moral order is secured, the prayer, hope for the eternality of that world, and the exalted emotion created by the identification of those, rather than the advice or spurring for the practice of the morals called ‘Oryun’. In the case of Sijo <Oryunga>, the thesis argues, due to the innate nature of the genre of Kyungkichega, noted above, the intellectuals called Sarimpa, the subject of creation of Sijo <Oryunga>, could not meet the expectation horizon associate with ‘song’. It was therefore selected amongst a few genres that coexisted in that era. In short, the subjects of creation of Sijo <Oryunga> recognized the temporal-spatial world where they lived as negative and devoid of the moral imperative, <Oryun>, so that their firm will to educate and reform that world was, to a certain degree, reflected in Sijo <Oryunga>. The thesis has also attempted to suggest that these two works show a clear difference in terms not only of their genres, but also of its classical source upon which they rely respectively; Kyungkichega <Oryunga> takes 『Sikyung (詩經)』 as its main source whilst Sijo <Oryunga> inclined towards the same internal system, value, purpose, and order to those of 『Sohak(小學)』 though it has no parts exactly identical to 『Sohak』. It has also suggested that such a difference in the classical source stemmed from the difference in the expectations of the writers on the effect of their works.

This thesis has explored <Oryunga>, a main stream of the early Chosun history of poetry-song, which had had a different forms and types in the early Chosun when there was complex history of poetry-song by examining particularly the Kyungkichega <Oryunga> and Sijo <Oryunga>. In particular, it has attempted to raise questions on the previous researches that interpreted Kyungkichega <Oryunga>, originated in the course of the restructuring of Ahkjang(樂章), ceaselessly conducted in the early Chosun, as being in the same vein of Sijo <Oryunga> in the 16th century, without concrete account of the work, and to distinguish them in terms of the nature of their genre, the purpose of their creation, and the certain values and direction embodied in them. As a result, it has been identified that between the two works is a significant gap in many respects such as the use of genre, the ultimate intention to create, the assumed readers, the entire atmosphere of the works, and the view of the writer on the reality. First, in the case of Kyungkichega <Oryunga>, the thesis argues that it was unavoidable for the writer, by the nature of its genre, to describe only the positive and optimistic world or that kind of atmosphere of the world that can be created through the performance of songs. The main focus of the work seems to be on the rational world where each moral order is secured, the prayer, hope for the eternality of that world, and the exalted emotion created by the identification of those, rather than the advice or spurring for the practice of the morals called ‘Oryun’. In the case of Sijo <Oryunga>, the thesis argues, due to the innate nature of the genre of Kyungkichega, noted above, the intellectuals called Sarimpa, the subject of creation of Sijo <Oryunga>, could not meet the expectation horizon associate with ‘song’. It was therefore selected amongst a few genres that coexisted in that era. In short, the subjects of creation of Sijo <Oryunga> recognized the temporal-spatial world where they lived as negative and devoid of the moral imperative, <Oryun>, so that their firm will to educate and reform that world was, to a certain degree, reflected in Sijo <Oryunga>. The thesis has also attempted to suggest that these two works show a clear difference in terms not only of their genres, but also of its classical source upon which they rely respectively; Kyungkichega <Oryunga> takes 『Sikyung (詩經)』 as its main source whilst Sijo <Oryunga> inclined towards the same internal system, value, purpose, and order to those of 『Sohak(小學)』 though it has no parts exactly identical to 『Sohak』. It has also suggested that such a difference in the classical source stemmed from the difference in the expectations of the writers on the effect of their works.

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Kyungkichega <Oryunga>, Sijo <Oryunga>, Oryun(五倫, the moral rules set up for the five human relations), the subject of creation, cognition of the reality, genre, expectation horizon, classical source, 『Sikyung(詩經)』, 『Sohak(小學)』