본문 바로가기
  • Home
Basic Search

A Study on the Way Lee Gwang-Su Enjoyed Sijo and his Transition in Perception in the Early 1920s -Focusing on Sijos in 『GeumgangsanYugi』

  • The Research of the Korean Classic
  • 2025, (68), pp.85~121
  • Publisher : The Research Of The Korean Classic
  • Research Area : Humanities > Korean Language and Literature > Korean Literature > Korean classic prose
  • Received : January 15, 2025
  • Accepted : February 11, 2025
  • Published : February 28, 2025

KIMJOON 1

1육군사관학교

Accredited

ABSTRACT

This paper examines the characteristics of Lee Gwang-Su’s(李光洙, 1892∼1950) way of enjoying Sijo and the change in perception in the early 1920s, focusing on 『Geumgangsan Yugi』(1924). Previous studies on his travel essay have focused on analyzing the specific aspects of how Lee Gwang-Su’s actions and changes in his state of mind in the early 1920s were embodied in literary works. However, there has been no specific discussion on the fact that Lee Gwang-Su included creative Sijos in his travel essay. 『GeumgangsanYugi』(1924) is an early work among the texts related to Lee Gwang-Su’s Sijo and Sijo theory. These texts tend to be concentrated in the mid- to late 1920s. As you know, there was a Sijo revival movement during this period. The Sijo revival movement focused on establishing the status of Sijo as national literature and exploring the possibility of Sijo as modern poetry by establishing the standard form of Sijo. Therefore, these aspects are reflected in Lee Gwang-Su’s Sijo and Sijo theory published in the mid- to late-1920s. Previous studies have also focused on and these and discussed them. Lee Gwang-Su’s 『GeumgangsanYugi』(1924) is a travel essay published before the Sijo revival movement. It contains more than 120 Sijos, and when compared to Sijos published sporadically in various media in the 1910s, it has a certain clustering. The general cases in which he utilized Sijo in this travel essay include abbreviating the plot of the content described in prose, honestly expressing his feelings during the mountaineering process, organizing and expressing emotions, objectively conveying information considering the reader, and maximizing the sense of presence through auditory description. There are two things to note about the process of Lee Gwang-Su’s creating Sijo. One is that he enjoys Sijo based on the oral act of impromptu recitation. The other is that he sometimes omits the last verse of Sijo and sometimes does not. The second case was the flow of transition from Sijo as a song to Sijo as literature. In particular, Choi Nam-Seon(崔南善, 1890∼1957) in the 1910s and 1920s attempted to include Sijo in the realm of literature, and in this process, he paid attention to the form of Sijo creation that was complete up to the last verse of Sijo. Sijo with the last verse gradually appeared rather than the form with the last verse omitted. However, Lee Gwang-Su did not show a clear path like Choi Nam-Seon. The basic way Lee Gwang-Su enjoyed Sijo was based on the oral culture of singing with the mouth and listening with the ears. It would not have been easy for Lee Gwang-Su to replace this way of enjoying that had been naturally ingrained in him for a long time with literature written in letters and read with the eyes in a short period of time. Considering these circumstances, Lee Gwang-Su’s various attempts at the last verse of Sijo in the mid-1910s and early 1920s can be said to be a transitional period to recognize Sijo as literature instead of songs. The significance of Lee Gwang-Su’s creative Sijo in the mid-1910s and early 1920s can be thought of as a period in which he sought ways to transform Sijo into literature while retaining the attributes of songs, rather than setting the category of Sijo as songs or literature and mechanically distinguishing them.

Statistics

  • 15 Viewed
  • 15 Downloaded

Tools

Issue List

Citation status

* References for papers published after 2023 are currently being built.

Basic Search Advanced Search