金壽民의 「箕東樂府」 硏究 = (A) Study on Kim Soo-Min's 「Kidong-Yuefu」

다국어 초록 (Multilingual Abstract)

Myung-Eun(明隱), Kim Soo-Min(金壽民) was a writer in the late period of Lee dynasty and lived a typical life of the scholar without applying the civil service examination and keeping his own integrity as a man of virtue throughout his whole life. His study and literary works are based upon Seongri Hak, the main ideas of which are self-cultivation of the mind, learning in the recluse and just behavior.
Myung-Eun's "Kidong Yuefu"(箕東樂府) and the kinds of Youngsa Yuefu(詠史樂府) are unique literary forms which reflected the national consciousness and were developed in the late period of Lee dynasty when the criticism against conventional systems and ideas spreaded, and the new recognition about our historical realities and academic concerns about our history and literature arose very high.
Thus, Myung-Eun's "Kidong Yuefu" was written as a response to this historical request. This work uses historical figures and tales, legend and mythology as its materals, and shows the dignity of our people and author's integrity as a man of virtue. The number of poems in this work is much more than that of other Youngsa Yuefu writers'. It is partly because he could contact more materials than other writers before him. However, this is more likely to prove that he consciously tried to, through correcting distortion of history and reviewing the men of historical importance, give the following genetations the correct view of our history. The source of his work is our history and , it seems, he tried to construct his work positively. In this respect, "Kidong Yuefu" is thought to have the following characteristics:
First, while the figures in the kinds of Youngsa Yuefu are too fictive and legendary on account of being emphasized too much on their greatness and heroic behaviors, however, in Myung-Eun's work their stories are expressed realistically without fictive construction.
Second, he never failed to specify the sources of the passages which he borrowed from other writers' poems or essays. And he was also considerate as to explain clearly the jumps of logic in the borrowed passages.
Third, to make the description of the figures more objective, he added to his work 'Gal(碣), Myung(銘), Jemoonm(祭文), Hangjang(行狀) written by Uam(尤庵), Yulgok(栗谷) and Toegae(退溪). His acceptance of those respected scholars' works shows that his view of great figures and history accords to the ones of them and he tried to describe justly without his own prejudices.
Lastly, he tried to correct his contemporary people's wrong views of our history through literary works.
In Kidong Yuefu, Myung-Eun's literary technics were not restricted by the model of Dang(唐) and Song(宋), and exerted the literary experiments very freely in the areas of materials, literary form and style beyond the limits of chinese poems. Unlike those positive writers who avoided fictive or unreasonal elements, he addmitted such unofficial history as legend and mythology and approached them with the attitude of official history. His efforts is considered of significance in that his historical approach toward them discovered some new aspects of our life.
Myung-Eun's philosophy is based on the ideas of justice, independence and loyalty, and is well shown in "Kidong Yuefu". Through his work he enriched our chinese literature in the late Lee dynasty , and made a step forward in making chinese literature our own national literature.
Though these poems were written in chinse characters, the intention of haveing written this work arose from the national consciousness, the tradition of Youngsa Yuefu since Shim Kwang-Se's(沈光世) Haedong Yuefu, to make his descendents recognize our history rightly, and aspire to the modernization of our people's consciousness. Considering these facts, "Kidong Yuefu" can be regarded as a very valuable literary work in our national literature.

목차 (Table of Contents)

• 목차 = ⅰ
• Ⅰ. 序論 = 1
• 1. 硏究의 目的 = 1
• 2. 「箕東樂府」硏究의 現況 = 3
• 3. 主資料와 硏究方法 = 4
• Ⅱ. 金壽民의 生涯와 思想 = 8
• 1. 生涯와 師友 = 8
• 2. 思想的 指向 = 20
• 1) 春秋大義的 義理論 = 20
• 2) 民族自尊的 文化優越論 = 21
• 3) 折衷的 立場의 人物性同異論 = 24
• Ⅲ. 「箕東樂府」와 作家意識 = 27
• 1. 自主的인 麗史意識의 發露 = 27
• 2. 史闕의 補完的 意圖와 讚詠勸戒 = 29
• 3. 正統에 立脚한 歷史記述과 實證史觀 = 31
• Ⅳ. 「箕東樂府」의 分析 = 42
• 1. 作品別 肉容 槪要 = 42
• 1) 素材의 特徵 = 42
• 2) 主題의 特徵 = 44
• 2. 形式上의 諸 特性 = 45
• 1) 句法 = 46
• 2) 韻法 = 49
• 3) 篇法 = 51
• 4) 史話의 省略 = 52
• 3. 表現上의 諸 特性 = 54
• 1) 緊張과 生動을 주는 對話體 = 54
• 2) 主觀的인 感情의 介入 = 55
• 3) 譬喩를 통한 入物 褒彰 = 57
• 4) 情을 표출한 樂府文體 = 60
• 4. 主題上의 諸 特性 = 62
• 1) 義理思想의 發現 = 62
• (1) 義勇과 殉節 = 63
• (2) 王朝交替와 節義 = 80
• (3) 斥和와 崇明 = 91
• 2) 佛敎와 巫俗의 排斥 = 96
• (1) 排佛 = 96
• (2) 斥巫 = 105
• 3) 儒學의 實踐 = 108
• (1) 弊政에 대한 忠諫 = 108
• (2) 禮誼에 대한 孝誠 = 121
• 5. '傳'과 '時調'의 수용 = 130
• 1) '人物傳'의 襲用 = 130
• 2) '時調'의 수용 = 136
• Ⅴ. 結論 = 141
• 附錄-「箕東樂府」의 作品別 內容 槪要 = 147
• SUMMARY = 167
• ▩참고문헌▩ = 170