• Sijohaknonchong
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• v.24
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• pp.259-278
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• 2006

In this study, I've researched the sijo written by Yukdang, Choi, Nam Sun, and Manhae. Han, Yong Woon who were the leading intellectual and the pioneers experiencing the time of flowering and the colonial period. Their lives had the common things in various way. They were involved in Independence movement as the intellectual at that time. They also showed the various activities such as modern poem. sijo, and even Chinese poetry. In this thesis, 1 compared their sijo and considered them. Especially, I've researched the two divided parts focused on the tone shown in the sin one part was focused on the 'lover', and the other was on the 'life'. The summarise which I've researched is as followings. First, I've researched the sijo focused on the 'lover' They have the common things in having the presupposition of farewell to their 'lover'. But there were significant differences as followings. In the case of Yukdang, he expressed the passive tone based upon the despondency and the loss with the absence of his lover. Meanwhile, Manhae tended to reveal the resigned and negative tone based to his lyrical world. The contrasted tone in their poems is considered to have something to do with their realistic matters. There should also be several things to be discussed in the future.

• Sijohaknonchong
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• v.19 no.1
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• pp.235-260
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• 2003

Recently, I presented Gagok(歌曲) Collection Yeong-eon永言 to learned circles. Yeong-eon is very similar to Yukdang-version六堂本 CheongGuYeongeon靑丘永言. Compared with Cheong- Yuk, it is the same age or little bit early time of Cheong-Yuk in culture Icon. This paper paid attention to the considerable difference between Yeong-eon and Cheong-Yuk in the way of the distribution of Yisakdaeyap二數大 葉's Woo mode羽調 and Ke-myeon mode界面調. There was the way of gathering ‘real name’+‘namelessness’ in Yisakdaeyap, which is the feature of the 18th century Gagok Collection. I found this way just put on the 19th century Gagok Collection way which is the distribution of Yisakdaeyap's 'Woo mode and Ke-myeon mode' in CheongYuk. Then I proved in this paper that the way of gathering Yisakdaeyap in Cheong Yuk didn't correspond to an actual singing in the early 19th century when 'Woo mode and Ke-myeon mode' was fixed. In case of Yeong-eon, however, it was not written any writers' names at all, when it was researched retroactively, I knew it was distributed evenly both the works of 'real name' and 'namelessness' in Yisakdaeyaps 'Woo mode and Ke-myeon mode'. Consequently, I found Yeong-eon is the good Gagok Collection for an actual singing at that time. In addition, there was discord in the mode or key distribution among many Gagok Collections. I found this issue of the application had kept on make Gagok Collections edit during 2 centuries. Because the actual Gagok enjoyment in the specific time is connected the way of the mode application directly.