• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.714-726
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• 2022

The purpose of this paper is to find out the way of utilizing phrases of Chinese poetry in Manjeongje and its musical characteristics. To this end, the roles of phrases contained in the Pansori words were classified into five patterns: landscape description, strengthening of pleasant emotions, strengthening of sad emotions, wordplay, and combination of various poems. As a result of analysis, phrases quoted in sad mood part consist of slow rhythm of Jinyangjo and Jungmori, and sad melody of Gyemyun-gil and Jingyemyun tone; thus, both the rhythm and melody are expressed in accordance with the mood of poems. On the other hand, the melody in the landscape description parts, and the rhythm in the joyful feeling and wordplay parts showed the characteristics of determining the mood. In addition, when applying the analysis results to the perspective of Pansori composition, it is necessary to discover novel texts, apply to editorials, and study musical implementation suitable for the original mood in order to create more artistic Pansori.

• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.1-34
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• 2020

It has been suggested that Jeungsan's prophetic poem that starts with the verse "For about seven or eight years, there will be a castle in the ancient country [七八年間古國城] ⋯" originally comes from Prophecies of Jeong Gam (鄭鑑錄). Despite Jeungsan, himself, obviously having been critical of that text, this claim has become the basic grounds for discourse suggesting that Jeungsan was not only interested in Prophecies of Jeong Gam but also considerably influenced by the text. However, the claim itself was formulated due to misunderstandings of the Chinese poems that had been included in A Compilation of Secret Prophecies Hidden in the Family-clan of Seogye (西溪家臧訣). These poems pursue a different ideological orientation than the poem from Prophecies of Jeong Gam. Ultimately, the Chinese poem in the verse 84 the chapter titled, Prophetic Elucidations in The Canonical Scripture of Daesoon Jinrihoe cannot provide a basis for the claim that Jeungsan was strongly influenced by Prophecies of Jeong Gam. This claim that Prophecies of Jeong Gam made a deep impact on Jeungsan and Daesoon Thought was based on three other texts outside of those that appear within verse 84 of Prophetic Elucidations. The first supposedly-related line is: "Heaven opens at the period of the Rat (Ja 子), Earth opens at the period of the Ox (Chuk 丑), humankind starts at the period of the Tiger (Ihn 寅)." This line comes from from Shao Kangjie's Book of Supreme World Ordering Principles (皇極經世), and the line could be quoted idiomatically as an expression in the Joseon Dynasty. Accordingly, attempts to relate Daesoon Thought to Prophecies of Jeong Gam are a distortion that arise from the assumption that Jeungsan had a significant interest in Prophecies of Jeong Gam. The second related line is "At the foot of Mount Mother (母岳山), a golden icon of Buddha has the ability to speak [母岳山下 金佛能言]." That line is nearly identical to the verse "On the summit of Mount Mother, a golden icon of Buddha has the ability to speak [母岳山頭 金佛能言]." Yet, Jeungsan changed '頭 (du, the summit)' to '下 (ha, the foot or under)' and express his own unique religious prophecy. This allusion to the prophecies of Jeong Gam is actually a criticism designed to disprove the earlier prophecy. Third, is the verse, "The form of Buddhism, creation of daoism, and propriety of Confucianism [佛之形體仙之造化儒之凡節]," which is characteristically related to Daesoon Thought. This verse can only be found in the prophetic text, Prophecies of Chochang (蕉蒼訣), and it is provided a main source when alleging that Prophecies of Jeong Gam was an influence on Daesoon Thought. However, considering the context of Prophecies of Chochang and the year of its publication (it is assumed to be compiled after 1950s), this does not hold water as Jeungsan had already passed into Heaven several decades before that time. This disqualifies the verse from being a basis for asserting Prophecies of Jeong Gam as an influence on Daesoon Thought. Contrary to the original assertion, there is a considerable amount of evidence that Prophecies of Chochang absorbed aspects of Daesoon Thought, which were simply revised in a novel way. There is no truly compelling evidence underpinning the argument that Prophecies of Jeong Gam had a unilateral impact on Daesoon Thought. There seems to be a great deal of confusion and numerous misinterpretations on this matter. Therefore, the claim that Daesoon Thought, as developed by Jeungsan, was influenced by the discourse on dynastic revolution and feng shui contained in Prophecies of Jeong Gam should be re-examined at the level of its very premise.

• Sijohaknonchong
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• v.30
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• pp.147-164
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• 2009

The conclusion of this paper is as follows. First, the authentic syllable count of sijo can be summed up as following: Second, the structure of the statement can be summed up as following: 1) Each statement extremely excludes the use of modifiers to clarify the development of the logic. 2) The meaning of each of the three statement, chojang (the 1st statement), jungjang (the middle statement) and jongjang (the last statement), is connected to the previous one closely, so the text as a whole is perfect. 3) The last statement identifies itself as the conversion or conclusion of the whole text. Therefore, the last statement should begin with a connective adverb like 'Therefore' or 'Then'. But in ancient sijo works, this sort of connected adverb is normally omitted. 4) Each statement of sijo is composed of one of the 4 structures suggested below: a) subjective phrase + predicative phrase b) the formal clause + the latter clause c) location-indicating phrase + sentence d) objective phrase + predicative phrase Since the text of a sijo work is formed like this, sijo is said to be composed of three jang (statement) & six gu (phrase), which is the very feature that proves that sijo is a fixed form of verse.

• Sijohaknonchong
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• v.21
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• pp.47-76
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• 2004

Newly discovered ${\lceil}Gogeummyeongjakga{\rfloor}$ is a copy collection of the old poetry SI-JO, which is specified in the book of yellow Gojeongji. {$\lceil}Gogeummyeongjakga{\rfloor}$ is guessed to be copied before the 17th year of King Yeongjo's reign(1740) and thus it's the early collection in the history of the Korean verse, Shijo. According to our research, there are 78poems in the collection and nine out of them hasn't been yet reported to the Korean Academy. The characteristics of Shijo in the book are followed. First. The collection is different from other books since the book was written in Korean instead of Chinese characters, which shows the uniqueness of the Korean literature in the late 17th and the early 18th century. Secondly, there are different versions of a poem in the collection, which is quite unusual in the other collections. There are different words or phrases used in different versions and even the whole verse is modified in some cases. Thirdly. two out of newly discovered nine short lyric songs is transformed from and that are kind of Chinese Ak-Bu. By the way, the compiler of ${\lceil}Gogeummyeongjakga{\rfloor}$ seemed to understand the co-relation between Ak-Bu and Shijo. and that's why he chose transformed Shijo from Ak-Bu not Chinese poetry. Among nine poems, <9> and <10> are newly discovered responding songs unknown up till now.

• Sijohaknonchong
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• v.23
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• pp.161-188
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• 2005

The purpose of this study was to delve into the morphological types of Sijo in an effort to determine the morphological structure of Sasul-sijo, and it's also attempted to present standard about how to discriminate Pyong-si, Eos-sijo and Sasul-sijo from one another from a morphological standpoint. It's suggested that Si with tee Jangs, six verses and 12 stanzas or more, with three Jangs, seven verses and 14 stanzas or more, and with three Jangs, eight verses and 16 stanzas or more should respectively be called Pyong-sijo, Eos-sijo and Sasul-sijo. After what Sijo was and what's not were discussed, how to distinguish Eos-sijo from Sasul-sijo was described, and finally, the structure of Sasul-sijo was presented. As for Sijo and non-Sijo, the types of works that consisted of tee Jangs, like Sijo, yet didn't suit its framework and Yuljo and were written in Chinese characters were regarded as non-Sijo. Concerning discrimination between Eos-si and Sasul-sijo, the type of Sijo that included one more or higher number of verse(s) and two more or higher number of stanzas in one of three Jangs was defined as Eos-sijo, and the type of Sijo that involved two more or higher number of verses and four more or higher number of stanzas in one of three Jangs was called Sasul-sijo. In other words, Eos-sijo contained one more verse in one of tee Jangs, and Sasul-sijo included one more Jang in one tee Jangs. The sort of Sijo that contained one more Jang in one of three Jangs could be viewed as Sasul-sijo. Regarding the structure of Sasul-si, there should be three Jangs, eight verses and 16 stanzas in one piece of Sasul-sijo. Any type of Sijo that contained two more or higher number of verses and four more or higher number of stanzas could be called Sasul-sijo. Such an addition of verse and stanza could done in various ways. The examples were (1) adding stanzas the first Jang, 2) adding stanzas to the second Jang, (3) adding stanzas to the final Jang, (4) adding stanzas to both the first and Second Jangs, (5) adding stanzas to th the second and final Jangs, and (6) adding stanzas to all the first, second and third Jangs at the same time. Besides, there was an extremely broad gap between the numbers of verse and stanza in Sasul-sijo, which ranged from a low of eight stanzas to a high of 87 ones in one of three Jangs.