• Sijohaknonchong
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• v.30
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• pp.165-188
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• 2009

This paper is an analysis about Ahn, Jasan's theory of Sijo. He comprehended that Korean classical poetry is not a literary genre written in letters but a music genre sung orally, because he minutely investigated old books under the situation without preconceptions. Ahn, who had a thorough knowledge on our native music or literature, had an exact recognition about Sijo. He had analyzed existence of Sijo after commenting Sijo's true nature, whenever he discuss. His attitude was possible for his recognition like that. The first step of Ahn, Jasan's theory of Sijo is source of Sijo searched for identity of Sijo. Generic source, metrics, poetical idea, and history are written well in the paper. Establishment of Sijo's poetic identity is second step's discourse about Ahn's theory of Sijo, the contents are integrated in his book Poetics of Sijo poetry. He became to discuss Sijo as a regular poetry, even in this book. Especially a minute discussion about theory of Sijo's phrase and lines was accomplished in this time, theory of metrics based on meter and rhythm was a core discussion of this time too. Although his scholarly opinions are not refined comparing to the scholars of later ages, we can say that his opinions clearly worked a role of exemplary precedent. His opinions were other scholars ahead, nevertheless he had been neglected by researchers for not belonging to major group against his will. For this reason, I think Ahn's status in history of Sijo study has to be readjusted.

• Sijohaknonchong
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• v.42
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• pp.7-28
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• 2015

This article defines sijo's musicality in two ways and verifies how musicality is shown in modern sijo with some examples. First, the first metre of a song's fourth part, that is, the sijo's jongjang, should include a reverse of its poetic image. A song consists of five parts. Each part is sung as a part of the song, that is, the sijo's dimetre, trimetre, or tetrametre, but its fourth part is sung as the monometre which is the first metre of its jongjang. This is because the first metre of a sijo's jongjang forms the axis of the reverse in its poetic image, and when this works properly, it can maintain musicality as a sijo. Second, a sijo's tetrametre and sijo-chang's gak should correspond as the same value along with the completion of its meaning. If a sijo does not keep the metre, each part's completion of meaning and also the sijo-chang's gak become problematic, so it is impossible to perform sijo-chang. Only when each part's completion of meaning and the gak of the metre correspond to each other as the same value, the sijo can maintain its musicality. Next, the study verifies how musicality is shown in modern sijo. This was examined through the examples of gyeol-metre and yangjang-sijo in dan-sijo that cannot form any tongsa madi, arrangement of syllable units beyond metres, or the examples of loose reverse of meaning in a transitional phrase. The two kinds of musicality presented by this author have already been proved with old sijo. However, modern sijo has been created mainly centering around its image, so such musicality has been ignored and sijo's identity has been damaged seriously. In sijo, musicality gives life. If modern sijo is created mainly around its image, it can never be called as sijo unless it has musicality. Although modern sijo is not performed as music, it should be equipped with the form to be performed as a chang. This is how sijo can maintain its musicality. It is thought that now is the time to recognize modern sijo as the matter of communication between sijo-chang and sijo literature, not just as the combination of sijo-chang and sijo literature.

• Sijohaknonchong
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• v.23
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• pp.33-48
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• 2005

In my paper, the discussion focuses on the fact that sijo is distinguished from free verse as a separate Identity in that it has its own formal beauty, and the works that deviate from this poetic rule are guarded against. In the past ancient sijo, in terms of both music and literature, was a major genre in harmony with chang(songs) ; and in modern times, sijo been created irrelevantly with chug. But my point is that it will not futile if sijo is accompanied with chang, and, therefore, the latter should be adjusted to a modern taste and go together with the former ; and that, to attain this goal, Korean musicans should cooperate with sijo writers. With English-version sijo works, there are some that are put in accordance with the formality of Engish poetry. This paper indicates that, in this case, foreign readers can't feel the nuances the source text of sijo works could produce, so it is not proper to translate sijo works in accordance with the formality of English poetry. But there are other translations where the 3-jang(statements)-6-gu(phrases) form of the original sijo text is reproduced within the limits of English expressions, with each of the two gu(phrases) in a ing(statement) having an almost equal number of syllables, so that each phrase could be recited within the same length of time. The conclusion is that the Korean-English translations of sijo works should begin with the reproduction of its original formal beauty; but, to do this, sijo writers should create works in accordance with it original formality first. Therefore for good translations of sijo works there should be a mutual efforts between sijo scholars and English poetry scholars.

• Sijohaknonchong
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• v.21
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• pp.77-110
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• 2004

This study is an exploration of a Korean-American writer, Hong-Eun's Mong-yu siga. Hong-Eun immigrated to the United States during the colonial rule of the Japanese government. He was a publisher of The New Korea Times, and contributed various literary works to it. The purpose of this study is to analyze his two Mong-yu sigas published in 1935 and 1947 and elucidate their meanings. Using dream as a primary motif, the intention of Mong-yu mode is to achieve desire which is impossible to reach in reality. While his staying in the United States, Hong-Eun could not return his home country for two reasons, that is, political and financial ones. To return Korea desperately, he wrote sigas by adopting Mong-yu mode. His first attempt was reflected as eight pieces of consecutive poetries titled This Mountain In My Dream, I am Home. This Mountain was published on the 25th of April, 1935 and In My Dream, I am Home was contributed from May the 9th of 1935 to July the fourth of the same year. These works were published in the The New Korea Times' poetry column under the pen name of Donghae-soboo , Representing gasa of the enlightenment era, this poetry depicts historical identity of Chosun dynasty, especially focusing on before and after the 1900s. As a result of it, the poetry sketches the ideology of the Middle Ages. His second attempt was A Country and Hometown written as a form of prelude on the 25th of September, 1947. In addition, A Country in My Dream was published as a form of six pieces of consecutive poetry from October the second to November the sixth of 1947. He chose sijo as a major form of poetry, and the image of the poetry seemed to be the continuation of his first attempt. Confronting the reality of the his own country which is divided, the writer expresses his antagonism toward America and Russia. Although he could eventually return his country later, he rationalized himself by saying that his it is not the ideal place to go. Mong-yu mode is a traditional poetic technique which the intellectuals of the Middle Age used to use as one pattern of allegory. In addition to this, in the period of the enlightenment of Korea, Mong-yu was used to avoid the Japanese censorship and experiment on the diverse ways of writing. In terms of literary history, the significance of Hong-Eun's creation of Mong-yu sigas is that Hong-Eun shares the same intention with Korean intellectuals of the enlightenment period.