KJCKorea
Journal Central

Yoon Seondo is one of the representative sijo writers of the Chosun Dynasty, and among his works, <Ouga> received the most attention in the history of research along with <Eobusashisa>. <Ouga> selects five natural objects, namely water, stone, pine, bamboo, and moon, and presents six verses of poem yeonsijo in which each object is embodied as the speaker's friend. The narrator selects natural objects that he regards as friends and depicts them by way of comparing them with contrasting materials while emphasizing the characteristics of each object. Since the objects selected as subject matter are natural objects that could be commonly seen in Geumshaedong, where Yoon Seondo lived at the time, it will be possible to discuss the writer's consciousness along with his world of work by examining the aspect of their figuration. In the meantime, the world of <Ouga> has been discussed from various perspectives. In the early studies, while examining the flow of Ganghosiga in the early Chosun Dynasty, the mainstream was to discuss the view of the nature and the world of <Ouga> regarded as Yoon Seondo's representative work. In addition, there are studies that argue that life in Geumshaedong is reflected in the work, considering the fact that this work belongs to the subcategory of <Sanjungsingok>. Furthermore, by examining the work world of <Ouga> as yeonsijo, it is possible to find papers that examine the overall aspect of the work and its structural characteristics and view of nature. Through the above discussion, we were able to obtain sufficient research results about Yoon Seondo's life and the character of <Ouga>. Here, I would like to pay attention to the fact that this work is a part of <Sanjungsingok> and reflects life in Geumshaedong. In particular, it will be emphasized that nature, the background of the work, is not an ideological one, but concrete natural objects that Yoon Seondo met in Geumshaedong. To this end, I will first examine the problem of natural perception reflected in Yoon Seondo's works. The nature that appears in sijo is not simply a material dimension, but is in contact with the author's world view. Therefore, through Yoon Seondo's representative work <Ouga>, we will closely examine the way of figuration in the work and the world of work, This work is placed in a position to finish up the series of <Sanjungsingok>, and it can be said that it embodies the writer's attitude toward political reality by comparing it to natural objects. The material that appears in the work is specific natural objects that the writer encountered around him, and it contains his perception of human beings compared to them. In other words, <Ouga> is not a work of mere praise of nature, but embodies the perception of the political situation Yoon Seondo faced at the time. To this end, I will discuss the world of work and the meaning of figuration in <Ouga> by using various records including <Geumshaedonggi> as reference materials. The reason why the narrator made them friends is that each natural object has its own attributes. The writer captured and embodied the characteristic of ‘consistency’ in natural objects used as work materials. They stand in stark contrast to people in the real world who are swayed here and there according to the changes in the world and change their attitudes for their own interests.

Yoon Seondo, Ouga, Geumshaedonggi, hermitage, Sanjungsingok, consistency