동야(東埜) 김양근(金養根)의 시조 한역 양상과 그 의미 = A Study on Aspect and Meaning of Kim Yang-Geun’s Translation of Sijo to Classical Chinese

다국어 초록 (Multilingual Abstract)

In this paper, the author tried to analyze the motives and patterns of the Translation of Sijo to classical Chinese by Dongya (東埜) Kim Yang-Geun (金養根, 1734~1799), and then analyze the Sijo's historical meaning of the translation of Sijo to classical Chinese in the middle and late 18th century. In his book of writing, 『Dongya-Jip(東埜集)』, 64 Sijos translated to classical Chinese are contained under the title 「Dongjo(東調)」.
In particular, the preface of 「Dongjo」 reveals his aspect of recognizing that Sijo's value lies in expressing the secret of nature. He presented the view that it would not lack if they could feel it even if they didn't know the tune. He left a trace of striving to deliver the true emotion in Sijo by playing a large number of Sijos comparable to that of song book. Therefore, it can be said that Kim Yang-Geun played Sijo not only to edify customs but also to promote Sijo's value and pursue the truth inside.
On the other hand, when review the listing system of 64 Sijos in 「Dongjo」, Sijos translated into classical Chinese were listed along with other pieces of music, and was classified into the subjects of 15 items. It is also discovered that the works of the artists whose name were listed in 『Cheonggu-Youngeon(靑丘永言)』 were remarked. This aspect shows that the cultural maturity of the mid－ and late of the 18th century, that is, Gagok-chang(歌曲唱), and the Chinese poem, music, long-song, and short song harmonized together didn't need to be dis-tinguished between Chinese songs and Korean songs.
It can be said that Kim Yang-Geun tried to reproduce the meaning and expression of Sijo using the 6 lines long and short term format(6句體 長短句) recognizing that Sijo's value lies in expressing the secret of nature. Therefore, it will not be surprising that Kim Yang-Geun reproduced Sijo's form, rhythm, expression, and theme based on the 6 lines long and short term format. However, he had a slight refraction. When Kim Yang-Geun, who tried to convey the true emotion in Sijo, projects his life and emotions to the truth, an expression suggesting a translator's existence was added, and refraction occurred.
The first question in this thesis is where was the driving force that the Translation of Sijo to classical Chinese became active in the 18th century when the “Sijo Collection Era” was “Golden Days of Changgok? In response to this, Kim Yang-Geun's Translation of Sijo to classical Chinese expanded the Sijo culture in the 18th century, when Sijo's creation and enjoyment were at its heyday. In the 19th century, when Sijo was transformed into Changgok, translation of Sijo to classical Chinese was inevitably degraded as a means of verbal translation. As a reaction, it suggests that such translation became a platform for innovation in poetry, a medium for new creation.
In conclusion, Kim Yang-Geun enjoyed the true emotion contained in Sijo and sang his sincerity through the translation of Sijo to classical Chinese, that is, participating in artistic acts reveals the maturity of Sijo culture in the middle and late of the 18th century.

참고문헌 (Reference)

1 성무경, "주제별 분류 가곡 가집,『古今歌曲』의 문화도상 탐색 -마에마 교오사쿠[前間恭作] 轉寫 東洋文庫本을 대상으로-" 한국시가학회 (19) : 255-298, 2005

2 조해숙, "조선후기 시조한역과 시조사" 보고사 1-254, 2005

3 張源哲, "조선후기 문학사상의 전개와 천기론" 한국정신문화연구원 한국학대학원 1983

4 이종묵, "조선의 문화공간 3" 휴머니스트 1-532, 2006

5 조윤제, "조선시가사강" 동광당서점 1-453, 1937

6 손찬식, "이재 황윤석의 시조한역의 성격과 의미" 어문연구학회 30 : 213-240, 1998

7 김진희, "원세순 편 『三家樂府』의 특성과 의미" 한국고전문학회 (41) : 145-185, 2012

8 이상원, "신수이의 한역시조 6수에 대하여" 한민족어문학회 (72) : 245-269, 2016

9 김문기, "시조･가사 한역가전서" 태학사 2009

10 김명순, "시조한역의 성격과 의미: 이형상의 작품을 중심으로" 한국문화융합학회 12 : 147-172, 1991

11 조해숙, "반계 유형원의 시조 한역에 대하여" 한국실학학회 (34) : 349-380, 2017

12 김명순, "반계 류형원의 시조 한역 양상과 의미" 국어교육학회(since1969) (42) : 299-322, 2008

13 윤병용, "남극엽 시조의 개작 및 한역 양상과 그 의미" 한국고전문학회 (51) : 97-128, 2017

14 김명순, "김양근의 시조한역에 대하여" 한국문화융합학회 11 : 159-186, 1990

15 김흥규, "고시조대전" 고려대학교 민족문화연구원 2012

16 김명순, "黃胤錫의 時調漢譯의 性格과 意味" 동방한문학회 (13) : 15-42, 1997

17 김명순, "馬聖麟의 時調漢譯歌 <短歌解> 40首에 대하여" 동방한문학회 (11) : 97-123, 1995

18 黃胤錫, "頤齋亂藁" 한국정신문화연구원 영인 1999

19 權燮, "玉所稿" 다운샘 영인 2007

20 김진희, "泠齋 柳得恭의 한역시가 <東人之歌> 연구" 국학연구원 (159) : 291-326, 2012

21 김동준, "歌集 형성기의 樂府와 歌曲의 상관성에 대한 일고" 한국고전연구학회 (38) : 5-46, 2017

22 金養根, "東埜集"

23 유정란, "『근화악부(槿花樂府)』의 성격과 작품 수록의 특징" 국제어문학회 (82) : 187-218, 2019

24 신경숙, "『가곡원류』 편찬 연대 재고" 한민족어문학회 (54) : 71-100, 2009

25 김현식, "<마천별곡> 연구" 규장각한국학연구원 (38) : 1-29, 2006

26 신경숙, "18？19세기 가집, 그 중앙의 산물18？19세기 가집, 그 중앙의 산물" 한국시가학회 11 : 2-, 2002

27 김용찬, "18세기 시조문학과 예술사적 위상" 월인 1-367, 1999

28 남정희, "18세기 경화사족의 시조 창작과 향유" 보고사 1-326, 2005

29 이경구, "17~18세기 장동 금문 연구" 서울대학교 대학원 2003