정철 작 가사 작품 <관동별곡>은 작자가 자신을 仙人으로 여기는 신선의식의 실현을 주제로 하며, 구성과 표현도 이를 구현함에 초점 맞추어져 있다. <관동별곡>의 구성은 신선의식을 도출하여 실현하는 과정(新羅四仙을 찾아 그들의 옛 행적을 따름)과 결과(사선과의 만남, 謫仙으로서의 자아정체성 확인, 그리고 확인 이후의 신선의 경지)의 구현을 중심축으로 하고, 금강산과 망양정 등의 뛰어난 경치들에 대한 기술을 부차적인 요소로 하면서, 간간이 牧民官으로서의 자세․의식과 임금에 대한 마음 등에 관한 삽화들을 주변적인 모티프로서 끼워 넣었다. 작자는 다양한 표현법들을 구사하여 그의 신선의식 실현을 성공적으로 구현하였는데, 특히 결말부에서 신선의식 실현의 결과들을 절묘한 방식으로 구체화했다. 이 작품은 작자의 신선의식 실현을 주제로 하고, 이를 통일성․긴밀성․강조성을 갖추며 예술적․정서적 효과를 기한 구성과 매우 인상적이고도 효과적인 표현을 통하여 훌륭하게 구현하였다.

In Gwandong-byeolgok, a literary work of gasa, the writer Jeong, Cheol regards himself as a hermit, which is the core of the theme. And the composition and expression of the work is focused on the figuration of the theme. The central axis of the work's composition is the realization of the concept of himself as a hermit. And it shows two aspects. One is the process in which the writer deducts and realizes the concept—that is, pursuing the four hermits in the Shilla period and going after their whereabouts. The other is the materialization of the result of the process—that is, the meeting of the four hermits, the confirmation of his identity as an exiled hermit from the heaven, and the new stage after this confirmation. The secondary element of the work’s composition is the description of beautiful sceneries such as Mt. Geumgang(金剛山), Pavillion Mangyang(望洋亭) and so on. In addition, the writer occasionally uses as peripheral motifs the episodes such as the position and consciousness of a governor and thanks to and longing for the King. The writer successfully materialize the realization of the concept of himself as a hermit, the theme of the work, by employing various ways of expression. Especially at the ending part of the work the writer expresses excellently the results of the realization of the concept.

In Gwandong-byeolgok, a literary work of gasa, the writer Jeong, Cheol regards himself as a hermit, which is the core of the theme. And the composition and expression of the work is focused on the figuration of the theme. The central axis of the work's composition is the realization of the concept of himself as a hermit. And it shows two aspects. One is the process in which the writer deducts and realizes the concept—that is, pursuing the four hermits in the Shilla period and going after their whereabouts. The other is the materialization of the result of the process—that is, the meeting of the four hermits, the confirmation of his identity as an exiled hermit from the heaven, and the new stage after this confirmation. The secondary element of the work’s composition is the description of beautiful sceneries such as Mt. Geumgang(金剛山), Pavillion Mangyang(望洋亭) and so on. In addition, the writer occasionally uses as peripheral motifs the episodes such as the position and consciousness of a governor and thanks to and longing for the King. The writer successfully materialize the realization of the concept of himself as a hermit, the theme of the work, by employing various ways of expression. Especially at the ending part of the work the writer expresses excellently the results of the realization of the concept.

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Gwandong-byeolgok(關東別曲), Jeong, Cheol(鄭澈), figuration, composition, expression, self-consciousness as a hermit, exiled hermit, identity