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2011, Vol., No.28

  • 1.

    A Study on Haseo Kim In-Who

    Soonyoel Kwon | 2011, (28) | pp.5~28 | number of Cited : 3
    Abstract PDF
    Haseo Kim In-Who has been regarded as a man of three characters in moral philosophy, integrity and literature. His life had the same orbit as those of intellectual heroes. Haseo met king Injong immediately after he went into government service. He and king Injong understood mutually from when they met for the first time. So the king gave presents to him, Mukjukdo and an anthology titled 『Jujadaejeon』. However, he had a mingled feeling of light and shadow to the king. The king was a base of his existence as he had a quality of sage king. So, the king's death led to loss of his main reason to live. Haseo mourned overnight in the mountains on the memorial sacrifice day of the king. A poem titled ' Yousosa' describes his feeling at that time. As seen in the poem, separation from the king was such a great sorrow that he could not overcome. Haseo maintained a position to serve but one king after the king was dead. He asked not to record his government posts since the officer at Okgwa, which definitely showed his integrity. He showed his integrity in his poetry. The most representative poem is ‘Jeonhweingouisa’. Jeonhweing was the last emperor of Je Period in the age of Civil Age. He once competed to grasp the power to control all the world with other feudal lords. However, he was chased after his country collapsed. This poem describes the suicide of Jeonhweing whose integrity had to be yielded and 500 warriors. Haseo showed his integrity to die rather than to yield his integrity through the poem. Haseo's philosophy is based on the 『Basic Learning』 and the 『Great Learning』. He respected Chu Hsi as a real Confucian as it was believed that he learned Confucius properly. So he regarded Confucius as his intellectual teacher, following academic attitude of Chi Hsi. Haseo wrote a book on moral philosophy titled 「Chomyeongdo」 and had a great interest in various fields such as astrology and geology. He wrote poetry to soothe his sorrow while studying hard. Therefore, his life is rather same as that of Tao Yenming. Haseo had intellectual exchanges with Tao Yenming and admired his life. However, Tao Yenming became a hermit in farms and identified with nature. However, Haseo never gave up his ideal for new society though he was a hermit too. He never gave up the links with society while living away from it. He became a great scholar through intensive interest in society and comprehension.
  • 2.

    A study on Sangeosi(山居詩) of Buddhism in the Joseon Dynasty

    Kim seoktae | 2011, (28) | pp.29~56 | number of Cited : 3
    Abstract PDF
    Sangeosi is poetry which poets expressed their impression and feelings living in the mountains. Buddhist priests wrote poems while they practiced asceticism in the mountains and Sangeosi is an important part of their poems. From Goryeo Dynasty to Joseon Dynasty the Buddhist priests consistently had created the Sangeosi. It becomes a part of traditional Buddhist literature. The important figures are as follows: Daegakguksa Uicheon, Muuija Hyesim, Wongam Chungji, Taego Bou, Naong Hyegeun, and Baekun Gyeonghan. All of them were people in the Goryeo Dynasty. The number of priests who wrote the Sangeosi in the Joseon Dynasty is about 60 and their poems was distributed throughout the whole period such as from Cheongheo Hyujeong's to Geummyeong Bojeong's. This thesis addressed the writers of the Sangeosi and their poems. In addition, it inquired into the works of the prominent writers such as Heoeungdang Bou, Seolam Chubung and Aam Hyejang. The characteristics of the Buddhist priests' Sangeosi are as follows: The priests considered the life in the mountains as valuable and desirable one compared to earthly world. They thought the nature as a place to find peace and they sang a song which describes their life in harmony with nature with pleasure. Moreover, they gained wisdom through interaction with everything they were exposed to in nature and they pursued the realization to the world of truth. Literature is closely related to the life of writers. Seon priests' Sangeosi is poetry that is created by human beings' communion with nature, which is a kind of nature poems and poems about philosophy of the Buddhism.
  • 3.

    A study on Ko Gyoung-myoung poetry

    Kim Eun-soo | 2011, (28) | pp.57~90 | number of Cited : 2
    Abstract PDF
    Jaebong(霽峰), Ko Gyoung-Myoung(高敬命) was a poet that lived in 16th centry, Chosun dynasty. This study is on his chinese poems. A poem current of that time designated a transistional stage, in Song-poem(宋詩) and Dang-poem(唐詩) (if we must say, revial Sungdang-poem, 盛唐詩), therefore, Samdang poets (三唐詩人: 李達, 崔慶昌, 白光勳) was praised best in that time. But poet, Ko gyoung-myoung is no inferior these Samdang poets. His poem compare flavorably with Samdang poet's poetry. First, Ko's works is Sansoo-poem(山水詩, landscape-poem) of landscape. that is a drawing in poems. they are all alike to Samdang poetry Second, Ko's works is a Jeonwon-poem(田園詩, pastoral poem). These poem is previous-scenery and later emotion or intermixtured scenery-emotion. Third, Ko's works is romantic poem. His poem described a traveler's mind, was not attached to richs, honours and long life. Moreover, Chuangtzu's Soyo (莊子의 逍遙, Chuangtzu's ramble) is one aspect of Ko's poems. Forth, Ko's works is Zen(Dhyana)-poem, Buddhism's poem. He established friendly relation with a Buddhist monk. Furthermore, he was an intelligent person in Buddhism, consequently a lot of works was Buddhism's poems in his poetry. In conclusion, a contents and art's devices which appears in Ko's chinese works has some aspect of Sungdang poetry.
  • 4.

    A Study on the Motifs of Ideal Place including Alcohol, Dream and Crane in Songgang's Hansi

    김진욱 | 2011, (28) | pp.91~118 | number of Cited : 2
    Abstract PDF
    A model of an ideal society may help the current society to develop soundly. An ideal place the intellects in Joseon sought can be a good resource for us to construct our future society. The intellect in Joseon established their own ideal place by reconstructing an experienced world and by the medium that helped them to escape. Songgang is one of the leading scholars, politicians and intellects of the time. It is meaningful to investigate his perception of ideal place in his literary works as a phase of Confucian scholars in Joseon who sought the ideal place. In turn, it may enable us to glance at the feature of ideal place that the contemporary intellect sought. This study examined the aspiration of Songgang on ideal place, and the medium for the escape. For this purpose, 573 Hansi in Seongjubon Songgangjib were analyzed, and particularly the role of alcohol, dream and crane which were some of the most frequently used resources in the works was analyzed. From the works in which Songgang intended to forget the agony of reality by drinking alcohol, this study figured out that Songgang pursued a world where no trouble existed. And through his dream, it proved that Songgang aspired to return to the most ideal world which he once experienced in the past. From the analysis of crane, this study proved that a crane was not a simple kind of creature, but an equivalent with Taoist hermit. This study also found out Songgang's ideal place to return was closely related with the reconstruction of Seongsan, an actual place in the world. Many Taoistic words in his ideal place were not derived from his in-depth scrutinization of Toism, but a simple counterpart of intuitive symbols against Taoist hermits. The ideal place of Songang was based both on abstractive concept on a Taoist world and on the life in Seongsan which he experienced on his own in the past.
  • 5.

    A study on Heoinsi of Maechun Hwang Hyeon

    박종훈 | 2011, (28) | pp.119~146 | number of Cited : 11
    Abstract PDF
    Maechun Hwang Hyeon(1855~1910) bequeathed semoheoingegak of 20 works. This works were he wrote on 20 people the subject of poetry keep company with him at 1900. It constantly was wrote Series-poem of Heoinsi at Late Chosun Dynasty. The greater part of style was a quatrain with five or seven Chinese characters in each line. But Maechun actively applied somewhat an extreme style of writing which verses with five words to each line. This is from 14 phrase to 42 phrase. He made use of free form that verses with words to each line. It would appeared that he minutely wrote life of the subjects` postures. A prior maechun`s heoinsi, it was principal meaning that the subjects` postures and the state of friendship, or throbber and hope about their friendship. but Maechun escaped from a prior his heoinsi, and he deals with minutely remarkable life of the subjects` postures. Maechun`s Heoinsi was put into stormy social conditions. Maechun introduced Characters in his poem, they almost were people out of luck which didn`t win recognition at the present age. Through Maechun`s Heoinsi, he presented a great variety of countermeasure that didn`t recive recognition in those days. He actively disclosed personages that lived dwell in retirement. but he exhibited that they cann`t choice their retirement in actually social organization. and than He deplored actuality. In addition, he appeared a bypass that he wish retirement. He introduced characters in the poem that Kim Taekyoung who dreamed defection for China to oppose about Chosun, Hong gun who became very angry about the ordinance prohibiting topknots and an event murdering a queen, Park munho who adhered to tradition of confucianism and fight against outside influence, Lee gi who coolheadedly commented on reality and resolutely insist on reform. Their`s action is began with the belief all internal and outward cause run into danger to save a nation. So, It is in close connection with conditions of the present age. Maechun promoted with many literary man through the poetry world. In the process, It actively went about a point of view each other different literature. He put into such a situation at Heoinsi. He introduced Lee- Jungjik and Wang- Sachan. and he reported their comments on literature. and then he covered with their argument about literature. It also a noteworthy at heoinsi of Maechun.
  • 6.

    Baekun Pungryu and the Three Masters’ Speculation

    Baek Sukah | 2011, (28) | pp.147~180 | number of Cited : 0
    Abstract PDF
    This thesis will be a useful material for understanding Choi San‐doo and the three Honam masters who studied under Kim Goeng‐pil (1454‐1504), who is counted as one of major contributors to the blooming of Neo‐Confucianism in the Chosun Dynasty and rooted Taoism in this land, and taught famous scholars in those days including Kim In‐hoo (1510‐1560) and Ryu Hee‐choon (1513‐1577), and their only teacher and the originator of Honam Taoism Kim Goeng‐pil. Neo‐Confucianism in the Chosun Dynasty is literature that recites landscape and nature and disciplines mind through perceiving things based on Chu Hsi Studies. It systematizes the Neo‐Confucian world view and its aesthetic consciousness associating cosmic providences with human nature, and names it ‘Neo‐Confucian aesthetics.’ The scholarship of Hanhwondang Kim Goeng‐pil, who is the originator of the Sarim faction in Chosun and spread the upright learning of Neo‐Confucian aesthetics pursuing the recital of human nature, was handed down to his disciples such as Cho Gwang‐jo and Choi San‐doo and led the implementation of ‘Tao.’As many scholars have already demonstrated, in discussing Pungryu literature in Honam during the 16th century, it is impossible to neglect historical facts and the relations of religious and philosophical influence regardless of whether its focus is forest garden, social gathering, or anything else. This study also aimed to discuss Baekun Pungryu based on the historical facts of Honam literature in the 16th century and Taoist ideas pursued by Sarim scholars in those days. With regard to the reasons for the new name Baekun Pungryu, on the other hand, Pungryu literature of Honam (a term comprehending Jollanam‐do, Jollabuk‐do and Gwangju) in the early Chosun Dynasty can be divided into three parts, which are Gyesan Pungryu in the Damyang area, Taesan Pungryu in the Jollabuk‐do area, and the Baekun Pungryu in the east Jollanam‐do area, and this classification is considered desirable for reilluminating the development process of Sarim literature more closely. We discussed first Baekun Pungryu, which was closest to Kim Goeng‐pil, the originator of Neo‐Confucianism in the Chosun Dynasty, and where Sinjae Choi San‐doo educated his disciples. The inclusion of the name of a nearby noted mountain in literary naming is considered a meaningful literary value in that when gangho (river and lake) poetry is included in Pungryu literature the combination of nature and artificiality in gangho poetry is managed in scenic spaces and forms a world. In particular, the meaning of the new literary name Baekun Pungryu is enhanced by Choi San‐doo who was born in the outskirt of Mt. Baekun, the last vein of Honam, and refined his scholarship there as well as by the poetic, spiritual and academic association of people related to him.
  • 7.

    A Study on Poetry of the Pavilion by Women Poets in 『Yongsungji』

    YU Yuk rye | 2011, (28) | pp.181~202 | number of Cited : 4
    Abstract PDF
    『Yongsungji』 was the old name town site of Namwon in which the rehabilitation history of Gwanghanru and poetry of the pavilion written by women poets have been inherited. The persons who wrote poetry of pavilions were called 'Nujeong poets' by educated people and the poetry written by them was called 'Nujeongjeyoungsi(poetry of pavilion)'. When a pavilion was founded, the history and news of the foundation, and the poetry under a title were written. Poetry on pavilion might be preserved in case that the pavilion was famous. However, most of the pavilions were destroyed or lost while they were rehabilitated. 『Yongsungji』 has poetry written by woman poets and Giseang, and although Nujeongsi(poetry of pavilion) were dominated by men of noble. Inscribed on the hanging boards of Gwanghanru, poetry were written by Bongsun and Yeonok, which stood comparison with poetry by men of noble at that time. Giseang with lower social status could wrote poetry very well and Choi Bong-sun led in raising money for building Chunhyang Shrine. Giseang of Joseon period created the best culture in literature and decorated a page of history.
  • 8.

    A study of Pungyoungjeong(風詠亭) rhyme-borrowing poems

    Hwang, Min-Sun | 2011, (28) | pp.203~240 | number of Cited : 10
    Abstract PDF
    Pungyoungjeong(風詠亭) built by Un Guh, Kim(金彦琚, 1503~1584) in 16th century had performed a function of people's attraction due to not only a good reputation of Un Guh, Kim(金彦琚, 1503~1584) and his colleagues but a location of Pungyoungjeong(風詠亭) connecting Gwangju, Naju and Jangseong. A volume of rhyme-borrowing poems were naturally produced because of many people's comings and goings to Pungyoungjeong(風詠亭). And in comparison to other pavilions of this time, especially in respect of their number, they became a peculiarity of Pungyoungjeong(風詠亭), a great landscape. A spatial character of a pavilion produced a large number of literary works that created unparalleled grandeur as they were placed on the top of a pavilion in a form of a wooden board. Such a kind of Nujung literatures brought a motive of the other Nujung literatures. They were inspiring people to create literary works even though they never enjoyed time in a pavilion. Therefore, Nujung literatures that provided an actual and a literary scene have been playing an important role in understanding a place, a pavilion. The previous studies that researched spatial figures of pavilions through Nujung poems were generally based on Nujungyeonjakjeyoung(樓亭連作題詠). Because it essentially has a nature of setting a great view for composing a place, a pavilion, the comprised space became a typical place where not only represented each of pavilions but expressed enjoyers' consciousness of a pavilion and scenic aesthetics. However, it is limited to grasp the place, a pavilion with Nujungyeonjakjeyoung(樓亭連作題詠) focusing on collecting sceneries. Accordingly, we need to examine Nujungjeyoung(樓亭題詠) taking much portion of Nujung poems. Pungyoungjeong(風詠亭) has a vast majority of rhyme-borrowing poems, approximately over 180 in comparison to other pavilions in the same period. To understand the place of Pungyoungjeong(風詠亭) in depth, approaching to rhyme-borrowing poems of Pungyoungjeong(風詠亭) is indispensible. This manuscript, therefore, mainly discussing about rhyme-borrowing poems of Pungyoungjeong(風詠亭), analyzed spatial characteristics of Pungyoungjeong(風詠亭) with three keywords, vision, apprehension and longing for the past
  • 9.

    A Study on Kim Changgang and Hwang Maechon's Poetry on Jeongun(停雲)

    Hwang, Su-jeong | 2011, (28) | pp.241~274 | number of Cited : 2
    Abstract PDF
    This study aims to analyse poetic exchanges between Changgang Kim Taek-young (1850~1927) and Maechon Hwang Hyun(1855~1910). That is, it looked at poetry on Jeongun(停雲). Jeongun(停雲) indicates close friends who are far away. This study focused on poetic exchanges of the two persons who were engaged in development of Chinese literature while maintaining its tradition in the period of a sudden change. They were promising literary persons because of their outstanding ability. However, it is believed that they did not realize as much as what they dreamed. They attempted to find out their own methods to overcome hardship of that time. Their delicate responses were expressed through poetic exchanges, through which special senses, joys and sorrow, spiritual ground, sense of crisis, and responses of the intellectuals of those days were read. This study was able to reconsider the meaning Changgang met Maechon in this process. First, their friendship was based on literary communication and trust. Changgang and Maechon built up trust, recognizing ability of each other. They could not show their vigor and enthusiasm through national examinations because they were from families of low class. Thus, they had expectation and despair of success in life simultaneously when they were young. Therefore, their spiritual base needed ability to overcome and respond to turbulent days. Their meeting encouraged them to pursue literature and trust, which was achieved through literary communication. Second, their poetry expressed missing towards a friend who was far away. Changgang selected an exile during turbulent days. However, Maechon did not because of family condition. Maechon missed and longed for a close friend as he valued Changgang's decision to realize his literary ideal highly. It was an admiration for his ability to adjust the time beyond a pursuit for personal wellbeing and changes. It contains expectation of Changgang's literary ability and encouragement of him. Changgang described his missing in poems to him as he intended to be consoled by Maechon, a friend of agony and missing. The poetry both exchanged at that time had agony and missing based on turbulence of those days. Third, his poetry expressed memories of a friend. Maechon's memories to Changgang contained the future prospect and the past reflections, through which a true meaning in their relationship was reconsidered. It also had hardship they had to face as intellectuals. The base of their response to the time was expressed. Maechon had memories of Changgang based on strong trust of his ability, leading to inspiration and expectation. Changgang expressed sorrow and pain of losing a friend, exposing his despair of the nation through the poetry.
  • 10.

    Self-consciousness and Its Social Character in Hyangchonsajok(鄕村士族) Siga of the Late Joseon

    Kuk Yun Ju | 2011, (28) | pp.275~308 | number of Cited : 2
    Abstract PDF
    The aim was to try to infer a role of ethical and social emotion based on the existing discussion of grasping a factor of a change in Hyangchonsajok(鄕村士族) and Geohyangyunri(居鄕倫理) of the late Joseon as a change in social․economic position and social standing. Examining social relations and background in enjoyment of 『Wimungacheop(魏門歌帖)』 , which had been handed down from generation to generation by Jangheung Wi's Munjung(門中:clan), the expression of ethical emotion like a sense of shame and the expansion in sympathy can be confirmed to contribute consistently to a change in Geohyangyunri(居鄕倫理). Expression and sympathy in the status-based self-consciousness as Sajok(士族) were feelings that are shared widely by literary people in the society of county villages at that time. Responsibility as a family head who needs to proceed with operating household, frustration according to it, and guilt for family members were also feelings in ethical character, which are continuously expressed and sympathized. This ethical emotion can be said to have been formed as the more solidified collective emotion of Hyangchonsajok by driving social practical behavior of containing new life norm and ethics.
  • 11.

    Appeared in the Autumn on Sijo , the Nature and Emotional expression

    Kim,Sang-jean | 2011, (28) | pp.309~338 | number of Cited : 1
    Abstract PDF
    This paper is the study of Sijo and autumn. The relationship between man and nature are closely. These relationship more is close from the cultivation society. So, our country from old days created Sasiga(四時歌). Sasiga means that Spring, summer, autumn and winter singing poet. This paper, especially in the autumn of the midst of the four seasons were noted. Because the autumn having the special character. Namely, autumn is 'season of harvest' and at the same time 'season of extinction'The focus of this paper is the two. First, the autumn is on the nature of the identification. In other words, Sijo and from of literature all ages and countries is the how to recognize an autumn. As a result, the autumn of 'season of harvest' and 'season of extinction' were perceived to be contradictory. The second is Sijo emotional expressions about autumn. And this is the specific goal of this paper. The emotional expression of the autumn when appears in Sijo, as the category with three. It is vent, condensation and sublimate. And to here, respectively exists on the sense of beauty. That is to say, merriment[興], sorrow[情恨], smoothable-mind[無心]. In the paper they were named as 'Vent of Merriment'. So I could understand that Sijo sure how to recognize and how to express emotions in the autumn.
  • 12.

    Comparison of Transmission Aspects of Folk ballads in Yeongnam and Honam District

    Young-Sook Suh | 2011, (28) | pp.339~370 | number of Cited : 4
    Abstract PDF
    This paper investigated the transmission aspects of folk ballads in Yeongnam and Honam district comparatively. I surveyed 1,101 versions (644 versions in Yeongnam district, 457 versions in Honam district) of folk ballads and the database of them in Yeongnam and Honam district. Yeongnam and Honam district have the most abundant versions of folk ballads in Korea. The most briskly transmitted versions both in Yeongnam and Honam district was the Ba type (A weaving woman wait for her husband). The second one was the Bc type (A wife who suicide because of her husband's dissipation) the third one was the Ia type (A maiden who lose her pigtail ribbon). These are recognized as the nationwide types. However, the Ea type (A sister who suspected from the unchastity by her brother) and the Gb type (A bridegroom who died of a woman's curse) are recognized as the regional types of Yeongnam district. In the contrast of that, the Ad type (A daughter-in-law who break a vessel), the Ae type (A daughter-in-law who expelled from her parents-in-law), the Ah type (A daughter-in-law who protest to her sister-in-law) and the Ge type (A bride who gave a birth on her wedding day). Especially the Sijipsarinore (Folk ballads about the woman's sufferings from her husband's family) including the type Aa which was handed down the most briskly in the Honam district. The reason of these phenomena was that Yeongnam district have been the authentic confucian society. The married women could not sing freely. I divided Yeongnam and Honam district into 2 cultural regions separately, the west region and the east region. Folk ballads were handed down the more briskly in the west of Yeongnam district. On the contrary, the least folk ballads were handed down in the east region of Honam district. I could find that the folk ballads about the woman's sufferings from her husband's family in the Honam and the west of Yeongnam region were handed down mostly. I analysed the structure of 4 types that show different aspects. As the result, I found that the subtypes in most cases are constituted with the core paragraphs in Honam district. On the contrary, the subtypes in most cases are constituted with the combination of core paragraphs and auxiliary paragraphs in Yeongnanam district. Moreover, the mixed types between Yeongnam and Honam were found mostly in the west of Yeongnam district. Those were results of the cultural exchange between Yeongnam and Honam districts. In order to confirm the results of this study, the more expended surveys to the whole districts should be continued.
  • 13.

    필사본 <자탄가(自嘆歌)> 해제

    최한선 | 임준성 | 2011, (28) | pp.373~410 | number of Cited : 2
    Abstract PDF
    작자를 알 수 없는 가사작품으로 일제시대에 학도병으로 끌려가 부모보다 세상을 먼저 떠난 아들을 그리워하며 자신의 신세를 한탄하는 내용을 담고 있는 작품으로 규방가사에 해당한다. 작품의 창작시기는 끝부분에 ‘기해(己亥) 십이월(十二月) 십칠일(十七日)’이라는 날짜가 적혀 있는 것으로 보아 1959년으로 추측된다. 작품은 기름을 먹인 두루마리에 쓰여 있으며, 4음보 1구가 위아래로 구분되어 있다. 상하 2단 구성으로 되어 있으며, 4음보 2구를 1행으로 기준으로 하여 모두 388행의 장편이다. 4음보 1행이 끝난 다음에 한 줄 간격으로 구분하고 있어 작품을 읽는데 매우 편리하게 짜여 있다. 작품의 보존상태는 좋으며, 두루마리 위쪽에 파란 잉크가 번져 있으나 전체적으로 글씨를 알아보는데 어려움은 없다. 작품 속의 주인공 만섭은 작자의 아들이다. 고향은 경상북도 상주이다. 19세에 장가들었으나 이듬해 정월에 일본 아오모리[靑森]으로 건너가 그곳에서 징집을 당해 학도병으로 출전한 것으로 보인다. 당시 일본은 태평양전쟁을 벌이고 있었으며, 특히 식민지 치하의 젊은 사람들이 강제로 전쟁에 끌려갔다. 만섭도 이를 피하지 못하고 중국으로 건너가 그곳에서 전사하고 말았다. 전사통지서를 받은 만섭의 부모는 청천벽력과도 같은 이 사실을 믿을 수 없었다. 행여나 다시 찾아오지 않을까 하고 실낱같은 기대를 걸어보지만 만섭은 전장에서 이미 한 줌의 재가 되어서 돌아올 뿐이다. 만섭의 부인은 이미 청상(靑裳)이 되어버렸으며, 아이 또한 아비의 얼굴을 모르는 유복자(遺腹子)의 불쌍한 처지일 뿐이다. 자식을 먼저 보낸 부모의 마음이야 오죽 답답하고 애처로울 뿐이다. 그러나 한탄 일변조로 그치지 않는다. 비록 먼저 떠나보낸 자식이지만, 늘 함께 있을 것이라고 다짐한다. 며느리, 손자와 함께 열심히 살겠다는 희망의 끈을 놓고 있지 않는다. 이 작품은 시대의 아픔을 통해 전쟁이 주는 참상을 몸소 아버지의 처지에서 노래하고 있는 점이 특색이다. 여기서 작자가 남성이라는 점은 그동안 규방가사의 작자가 여성 일변도였음을 감안할 때, 상당히 예외적인 일로 보인다. 이는 해방 이후 규방가사의 작자층이 넓어지고 있음을 반영하는 것이라 할 수 있다. 더구나 먼저 떠나보낸 자식을 위로하며 쓴 작품이 흔하지 않는 것을 감안하면 이 작품이 지닌 희소성이라 하겠다.