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영어

The goal of this paper is to examine the aspects of Kwon Seop's creation of Gasa, as seen in "Yeongsambyeolgok" and "Dotongga", and their meaning in terms of literary history.
In general in literary works, the author's attitude and methods of expression as he or she regards the subject differ according to the space in which the work was created, and Kwon Seop's "Yeongsambyeolgok " and "Dotongga" are good subjects for understandmg the aspects of the creative space and the author's attitude and expressions.
"Yeongsambyeolgok" deviates from a realistic space and expresses lyrical sensibilities regarding scenery seen in the space of a journey, which is a space of departure. The author establishes a character who speaks for the author's own inner world, expands scenes by vividly describing the subject at hand, and achieves literary form primarily in the Korean vernacular script through metaphors, symbols, and exaggeration. On the other hand, "Dotongga" shows a reasonable and critical voice that speaks of a chaotic reality experienced within a realistic space. That is, he boldly confronts the chaotic reality, discussing the history of "Dotong" ("the tradition of ethics") in the first part and lamenting and worrying about reality in the second part, using primarily Sino-Korean characters and plain diction. In terms of form, the two works share the form of "four-foot continuous form".
Yet in terms of content, "Yeongsambyeolgok" can be said to have carried on the orthodoxy of "Gasa literature", but "Dotongga" is narrated in plain diction with
almost no literary form, and so it is doubtful whether it can be included in the category of "Gasa literature". The reason is that the "four-foot continuous form" does not guarantee literariness. From this point of view, it is impossible to see
"Dotongga" as carrying on the "orthodoxy of Gasa literature", but we can see the work as utilizing "conventions of Gasa literature" such as the title and form.
From this point of view, the aspects of Kwon Seop's creation of Gasa as seen through "Yeongsamdyeolgok" and "Dotongga" point out the need for research into the aspects of the development of Gasa and the genre of Gasa itself to deal separately with Gasa that carry on the "orthodoxy of Gasa literature" and vernacular Korean textual forms (such as tales of woe, descriptions of Confucian virtues, religious doctrines, letters, etc.) that utilize the "conventions of Gasa literature" in everyday life.