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The aim of this paper is to examine some controversies over 〈Seogyongbyulgok〉 in terms of its speaker, the division of passages, and interpretation.
1. The Speaker
There are two theories about the speaker of this poem: one female speaker and multiple speakers theory. The latter contains theories: a different female speakers in each stanza, which emphasizes the work as an organic unity; alternating female and male speakers, which regards each stanza as an independent meaningful unit; and the speaker can both be a male and a female. My opinion supports the one female speaker theory because it is more reasonable to escape the possibility of destroying the sense of unity by introducing multiple speakers.
2. Division into several passages
There are two theories: One is 3 stanza composition theory, and the other 4 stanza composition theory. I agree to the latter because it is backed up by much more objective and detailed grounds.
3. The problem of speaker and division is essential to the interpretation of the work under discussion. To me, the first stanza is 'a confession of relative love', the second one 'a confession of absolute love', the third one 'biased grievance', and the fourth 'self recognition'. Especially, the last line of the first stanza "Goesirandae wooreogom jotninoeeda" and the last line of the fourth stanza "Baetadeulmyon Kotkoreeda" need a special attention. The the subject of the subjunctive clause in front of each stanza is 'nim (lover)', and that of the main clause is the poetic speaker. So, the first stanza signifies the speaker's relative love that the speaker will follow the lover, leaving everything behind. The fourth stanza shows a recognition of self immersed in absolute loneliness and lack of meaning of life by showing a resolution to pluck a 'flower' if the lover leaves in a different ship.
1. The Speaker
There are two theories about the speaker of this poem: one female speaker and multiple speakers theory. The latter contains theories: a different female speakers in each stanza, which emphasizes the work as an organic unity; alternating female and male speakers, which regards each stanza as an independent meaningful unit; and the speaker can both be a male and a female. My opinion supports the one female speaker theory because it is more reasonable to escape the possibility of destroying the sense of unity by introducing multiple speakers.
2. Division into several passages
There are two theories: One is 3 stanza composition theory, and the other 4 stanza composition theory. I agree to the latter because it is backed up by much more objective and detailed grounds.
3. The problem of speaker and division is essential to the interpretation of the work under discussion. To me, the first stanza is 'a confession of relative love', the second one 'a confession of absolute love', the third one 'biased grievance', and the fourth 'self recognition'. Especially, the last line of the first stanza "Goesirandae wooreogom jotninoeeda" and the last line of the fourth stanza "Baetadeulmyon Kotkoreeda" need a special attention. The the subject of the subjunctive clause in front of each stanza is 'nim (lover)', and that of the main clause is the poetic speaker. So, the first stanza signifies the speaker's relative love that the speaker will follow the lover, leaving everything behind. The fourth stanza shows a recognition of self immersed in absolute loneliness and lack of meaning of life by showing a resolution to pluck a 'flower' if the lover leaves in a different ship.
목차
1. 서론
2. 어석적 연구
3. 음악적 연구
4. 문학적 연구
5. 결론
참고문헌
영어 초록
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UCI(KEPA) : I410-ECN-0101-2009-810-015483962