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This study aims to re-examine the nature of Jeongeup as a movement played at court banquets by taking “내,” a sentence-ending poetic word used in the work, as an adverb instead of a personal pronoun. A look at the history of research on the work shows that “내” was regarded as a first- or third-person pronoun, but there were different opinions before Korea took back its independence. Kim Tae-jun suggested that “내” could not be fixed as a personal pronoun, and Lee Hee-seung interpreted this poetic word as an adverb. Both as an archaic word and a modern word, the adverb “내” is a synonym for “내내,” which means all the time, and holds the meaning of “continuation” such as always, continuously, and unceasingly. “내” is freely used in words, con- structions, and sentences and functions to emphasize the meaning of wish, apprehension, or conviction in respective contexts. Jeongeup was a story about the Mangbu Rock in the Jeongeup area and changed into a piece of court music after being introduced into the court of Baekje. This song was later transmitted as a movement played at banquets for Jeongjae Changsa at the royal courts of Goryeo and Joseon. In Joseon, the song maintained its life force into the second half of the dynasty after it was registered in a court music book(Akhakguebeom) and a law book(Gyeonggukdaejeon) and overcame a crisis of being replaced. Its transmission was driven by a universal bond of sympathy for a woman's anxious waiting and its correspondence with chastity, one of the Confucian norms. Jeongeup can be divided into two parts in terms of tunes and three in terms of meanings. In the former case, it is divided into the Jeongang and Hugang passages. In the latter case, it is divided into three parts on the basis of “어긔야” at three places. For each semantic unit, its poetic concept unfolds into the speaker's wish, conjecture, and apprehension for her beloved. There are no specific subjects of speech or poetic objects in the work except for the moon, but one can guess them based on additional records attached to it. Considering the acceptance patterns of Jeongeup at court banquets, the first column represents “the moon, the speaker, and the speaker's wish” with “the monarch, the people of benefits, and respect and trust for the monarch,” respectively. They all harmonize with each other, singing about how the monarch is blessed. The second column likens the “ife and daily lives of people” o “he author, Jinde, and the walk of her beloved,” urging the monarch to perceive reality and wake up to it. The third column depicts the “present consolation for the life of people and their gloomy future” with “노코시라” and “가논 ,” anticipating exemplary administration from the monarch. As a movement played at court banquets, Jeongeup holds its significance in three ways. First, it holds metrical stability through reverberations and gram- matical markers. The second “아으 다롱디리” guarantees the completeness of each passage. “어긔야 어됴리” performs the function of striking balance and distinguishing between tunes and texts by making a knot over three semantic paragraphs. “어긔야” connects the preceding and following lines and creates lingering poetic imagery through sentence-closing endings. “–시-” in all the predicates ensures poetic unity. “全” and “즌ᄃᆡ” of the second column, “다” and “가논 ᄃᆡ” of the third column, and “노피곰,” “머리곰,” “녀러-,” “드-,” “노코-” and “졈그-” of each paragraph ensure harmony and unity between tunes and texts, in poetic structures, and between reverberations and poetic words through correspondences and rhyming couplets. Secondly, Jeongeup shows independent sublimation as a movement played at court banquets. As this song was introduced into the court as a Jeongjae Changsa, the sentiment of waiting became a song of chastity and was reduced to Buwuibugang. People's prayers for their monarch were reduced to Gun- wuisingang. At the same time, the song has descriptions of people's difficult lives at its base and induces affection for people and exemplary administration from the monarch so that he would not turn his back on their difficult lives. Finally, “내” of Jeongeup performs poetic and banquet functions to press the people and their monarch to awaken consistently. It reminded people of the realization that life would be full of joys, sorrows, and perils till the end and the monarch of his duty to take care of his people as their ruler. These findings suggest that “내” is a banquet marker to finish poetic concepts in the final lines and to urge the monarch to awaken constently as a ruler.

The work that shapes the journey of travel and the author's appreciation in the Gasa genre is called Giheang Gasa. In the early days, mainly the officials recorded the process of going to the forest as they took office, but gradually the works that recorded the process of travel by individuals in free situations began to be created. <Geumdangbyeolgok> is a Giheang Gasa created by the author based on his journey and appreciation after traveling to the island of Geumdangdo and Manhwado near his hometown. In the early study that introduced the work, there was a mistake in introducing the author, but it was confirmed that Gasa were created by Wi Sejik because a record was found to reveal the author. Through the existing research results, the characteristics of <Geumdang- byeolgok> as a Giheang Gasa could be revealed to some extent, but the research results dealing with this work are still insufficient. In addition, most of the existing studies have cited works through secondary data, without a thorough review of the text containing the works. In this article, we conducted a review of the works and a search for the original texts, which were once included in the Wimungacheop and another book. Through this process, it was possible to provide a basis for dealing with the original text of the work in detail, and to discuss the work world of <Geumdangbyeolgok> in abundance. As for the life and activities of Wi Sejik, the author of <Geumdang- byeolgok>, it was not fully revealed because related materials such as literary works were not transmitted. However, I was able to confirm the works related to Chinese poetry in the Samjokdangyugo as the literary works of Wi Sebo. Although the work created by Wi Sejik could not be identified, it was used as a clue to detect his literary activities and artist consciousness. Based on this work, the original text search and the world of the work were described focusing on the works contained in the Wimungacheop. In addition, by analyzing the newly discovered Chinese poems of Wi Sebo, I introduced Wi Sejik's consciousness as a writer and his aspect as a literary man as a writer of <Geumdangbyeolgok>.

This paper sought to deepen the discussion on the refrains and remaining verses of Goryeogayo. By analyzing the recorded aspects, we organized the composition method, and based on this we discussed how it has a literary function in relation to the lyrics of the original work and how it reflects the situation of performance. The main components of the refrains and remaining verses are the oral sounds of instruments, but they are composed differently depending on the work. There are some exclamations and string sounds alone, but most of them are composed by exclamations connected to string sounds or synonyms. It also includes ‘seong’, a marker word for voice. The refrains and remaining verses play certain functions in the original work’s development of poetical idea and semantic structure. The remaining verses in Seogyeongbyeolgok and Ssanghwajeom play the roles of emphasizing through repetition of poetic words, conversion the way of statement and developing poetic ideas, and maintenance of tension and distance for conversation. Among the works with a refrain that repeats the same phrase, Dongdong is involved in the realization of theme and emotion to the extent that the title is taken from the refrain. Cheongsanbyeolgok expresses emotions according to the content and heightens the atmosphere of the banquet. Gasiri, even though it is a refrain that is out of sync with the main text, has a literary function based on the setting of singing the theme of universal human beings at a banquet of the era of peace. The refrain of Jeongseokga is included in the main text, and serves to amplify the praise and trust or ‘Nim’. The remaining verse in Isanggok reinforces the meaning of self-reproach and despair. In Jeongeupsa, the remaining verse deepens lyricism in harmony with the emotion of longing. The refrains and remaining verses are phrases that were included while editing the original work to reflect the circumstances of the performance. By mainly composing on the oral sounds of instruments, a device was provided to enjoy the situation of music performance along with the lyrics of the original work. The oral sounds of wind instruments were used in Gunmadaewang and Naryega, and that of string instruments were used in Daewangban, Seonghwangban, and Naedang. Ssanghwajeom was composed mainly of string instruments, but it also included oral sounds from wind and percussion instruments, and there was a dialogue situation at the end of the piece, so it would have been a complex and polyphonic performance with a large-scale band. Abbreviated string instruments such as ‘Darongdiri’ in Jeongeupsa and Samseongdaewang were sung like exclamations and accepted as part of the lyrics. Just as the first stanza and the remaining stanzas of Dongdong were sung separately, the refrain and remaining verse of Gashiri and Isanggok would have been sung by different people separately from the main song. ‘Ajeulga’ in Seogyeongbyeolgok appears to have created a unique appearance by using the dialect of Seogyeong, the place where the performance was performed. The refrains and remaining verses of Goryeogayo have literary and performative functions both inside and outside the work. Those have this aspect because it was passed down as a record that reflects the circumstances of the per- formance.