earticle

영어

This study examines the acculturation of later Gasa literature by focusing on the Wolreongche mode of expression in Dong-dong works. The Wolreongche form is characterized by its structure, which organizes content according to the twelve months of the year and this form is presented in the Goryeo song called Dong-dong and reappears in later songs such as Wolreongsangsa-ga, Sakmyeong-ga, Sachin-ga, Dalgeori, Gwandeung-ga, and Sasigyeonggi-ga. In order to analyze the structure of Wolreongche, this paper investigated the comparative analysis of folk songs like Dong-dong, Dalgeori and Nongga Wolreong-ga. The results of this study reveal that Dong-dong establishes the flow of time over the course of a year through seasonal customs associated with the seasonal division in lunar calendar and traditional Korean feasts, thereby intensifying its lyrical sentiment toward the subject. In the folk song, Dalgeori, a greater emphasis is placed on enumerating seasonal customs compared to Dong-dong. Meanwhile, Nongga Wolreong-ga puts emphasis on agricultural activities aligned with the lunar terms throughout the year. Although all three works share a common structural framework based on the twelve-month cycle, the seasonal customs expressed through lunar terms and calendrical observances display both similarities and distinctive variations. While Dong-dong and Dalgeori are notable for their pronounced lyricism, Nongga Wolreong-ga focuses primarily on providing seasonally appropriate agricultural knowledge. In other words, although the three works similarly employ seasonal markers to depict the passage of time over a year, each is adapted according to the expressive intent of the speaker. Building on this analysis, the study proceeds to explore how later Gasa literary works adopted and transformed the Wolreongche form. While works such as Wolreongsangsa-ga, Sachin-ga and Dalgeori are structured according to the twelve-month cycle just like Dong-dong, other works including Sakmyeong-ga, Gwandung-ga, and Sasigyeonggi-ga employ varied temporal spans such as from January to November, January to May, or January to October respectively. In terms of content, Wolreongsangsa-ga, Gwandung-ga, and Dalgeori center on the figure of the ‘beloved,’ expressing longing and affection for that person. In contrast, Sachin-ga is directed toward one’s parents, while Sakmyeong-ga is addressed to a deceased daughter. In particular, Sakmyeong-ga incorporates the Wolreongche form only partially (lines 168 –215), employing it as a rhetorical device to intensify the emotional expression of the female speaker. Additionally, Sasigyeonggi-ga, while lacking a clearly defined object of address, utilizes the Wolreongche structure to convey the theme of life’s transience over the course of the four seasons. The mode of narrative in Wolreongche observed in the Goryeo song Dong-dong reemerges in modern and contemporary Gasa works. The temporal structure of the twelve-month cycle signifies a prolonged duration enabling the speaker’s emotion to be concretely articulated and cumulatively layered month upon month. This compositional method, which centered on a beloved figure in Dong-dong, is later expanded to encompass other subjects, such as the deceased daughter in Sakmyeong-ga, thereby intensifying the sense of longing.

한국어

이 논문은 <동동>의 월령체 구성 방식에 주목하여 후대 가사 작품의 변용 양상 등을 살핀 것이다. 기존 연구에서 지적했듯 월령체 구성 방식 을 활용한 작품들은 절기와 절일 등에 차이가 있다. 이에 달거리 민요, 월 령체가로 지칭되는 작품, <달거리>와 <농가월령가>의 내용을 분석하여 <동동>과 비교해 그 구조를 파악하고자 하였다. 두 작품은 일 년이라는 구성 방식이 동일할 뿐 절기, 절일에서 차이가 있으며, 작품이 지향하는 바도 각각 그리움과 농사일, 세시풍속 등 다르게 나타났다. 후대 가사 작품에서 월령체 구성 방식을 취한 작품으로 <월령상사가>, <사친가>, <삭명가>, <사시경가> 등을 중심으로 <동동>과 비교하여 살펴보았다. 일 년의 구성 방식은 주제를 드러내기에 효과적으로 작용하 는데, <동동>과 <월령상사가>, <동동>은 임에 대한 그리움을, <사친 가>는 집안 소년들을 대상으로 부모님 봉양의 중요성에 대해, <삭명가> 는 죽은 딸에 대한 그리움을, <사시경가>는 사계절의 아름다움과 인생 무상의 주제를 그리고 있다. 월령체 형식은 <동동>과 비교할 때 <삭명 가>, <관등가>, <사시경가> 등은 각각 1~11월, 1~5월, 1~10월 등 다양 하게 나타났으며, 특히 <삭명가>는 월령체를 부분적(170~215행)으로 취하여 여성 화자의 심정을 극대화하는 방식으로 활용하였다. 고려가요 <동동>에서 나타나는 월령체 형식은 후대 가사 작품에서 다 시 확인할 수 있으며 일 년이라는 오랜 시간을 월별로 나타내어 화자의 심정을 구체적이고 적층적으로 표현하고 있다. 이는 주제를 더욱 강화하는 효과를 갖는다.