This study discusses how the interpretation of saseolsijo can proceed in various directions, focusing on the work <靑개고리 腹疾ᄒᆞ여 주근 날 밤의∼>. Although there have been previous attempts to interpret this work, a complete understanding has remained elusive. This limitation stems primarily from two factors: first, a failure to accurately grasp the contextual meaning of Jinogwisaenamgut (a shamanic ritual), and second, an insufficient clarification regarding the identities of the various animals appearing in the text.
With this critical awareness, Chapter 2 investigates the musical anthologies (gajib) and musical settings in which <靑개고리 腹疾ᄒᆞ여 주근 날 밤의∼> was compiled. The findings confirm that the song was performed at a fast tempo and high pitch within a lively and festive atmosphere. Consequently, Jinogwisaenamgut should not be understood merely as a mangja cheondo gut (a ritual for guiding deceased souls to the afterlife) as conventionally known. Instead, it must be recognized that Jinogwisaenamgut was actively utilized in diverse performance contexts such as Sandae-nori (mask dance drama), and that various lexical terms within the text are intimately linked to these theatrical performances.
Furthermore, regarding the animals featured in <靑개고리 腹疾ᄒᆞ여 주근 날 밤의∼>, this study notes that just as Dukkeop-jeon (The Tale of the Toad) evolved from foundational folktales into a full-length novel, this saseolsijo heavily incorporates oral literary characteristics from contemporary performance arts like pansori and japga (miscellaneous songs). Thus, in terms of both its formation process and content, the work is seen to have a certain connection to the emergence of fable novels (uhwa soseol) of the time. Culture and arts in the late Joseon period experienced significant qualitative and quantitative growth, leading to active intergeneric convergence—such as folktales developing into biographical tales (jeon) or yadam, and genres like sijo, gasa, and japga influencing one another in both lyrics and vocal performance. Since such boundary-crossing was common in the performance culture of the era, the allegorical nature found in late Joseon fable novels was a product of prolonged oral literary traditions, and their performative connections were not formed overnight.
Ultimately, by examining the interrelationship between <靑개고리 腹疾ᄒᆞ여 주근 날 밤의∼> and the contexts of theatrical performance and literary creation, this study highlights the multiplicity of interpretations in saseolsijo. Through this approach, it also opens new possibilities for diverse interpretations of other saseolsijo works based on rigorous textual and lexical examination.