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초록· 키워드
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The subject of this thesis is a comparative study of rhymed verse songs of Korea and Japan, and this thesis mainly examines the poetic form, the characteristics of versification and their aesthetic sense.
Ten-verse Hyang-ga(old korean folk song) solved the points at issue of four-verse and eight-verse Hyang-ga and it is the most refined poetic form. It succeeded into the Sijo which is the most famous Korean rhymed verse, and thus it is the beginning of Korean rhymed verses.
Only Tanka among the forms of 『Man’yoshu』 has survived to the present time. It is because its sense of stability and brevity and also the best harmonization with Japanese feelings. In those sense, Tanka is the essence of Japanese rhymed verses.
We examined the characteristics of versification and the aesthetic sense of Sijos at the first foot and the second foot of the last verses based on the theory of foots. The last verse is a verse where the objects are identified with the subjects and it increases tension by either exceeding or lacking in number four syllables which is standard. Formally it is a verse of exception, but in substance it contains the aethetics of the completion with the most harmonic unity and vitality. Oriental aesthetics is based on odd numbers. There exist various alterations in which Sijos express their beauty.
Waka has a form of 5ㆍ7ㆍ5ㆍ7ㆍ7 bases on the strokes of 4ㆍ4ㆍ4ㆍ4ㆍ4. Each verse contains 8 syllables and it contains as many pauses as it lacks. In particular, the first and the third pauses bisect the flow of tones, and the first 5-syllable verse becomes the subordinate verse to the second and third verses and bisect the flow of tones into 「5ㆍ7ㆍ5 / 7ㆍ7」. This is the characteristic of versification and aesthetic sense of Waka. Waka starts with 5-syllables, changes to 7ㆍ5 and then ends with 7ㆍ7, and this structure makes the rhythm of Waka good. 7ㆍ5 is the rhythm of airiness, and 7?7 is a stable rhythm without any pause. We found that it was this structure through which Waka expresses its beauty.
Ten-verse Hyang-ga(old korean folk song) solved the points at issue of four-verse and eight-verse Hyang-ga and it is the most refined poetic form. It succeeded into the Sijo which is the most famous Korean rhymed verse, and thus it is the beginning of Korean rhymed verses.
Only Tanka among the forms of 『Man’yoshu』 has survived to the present time. It is because its sense of stability and brevity and also the best harmonization with Japanese feelings. In those sense, Tanka is the essence of Japanese rhymed verses.
We examined the characteristics of versification and the aesthetic sense of Sijos at the first foot and the second foot of the last verses based on the theory of foots. The last verse is a verse where the objects are identified with the subjects and it increases tension by either exceeding or lacking in number four syllables which is standard. Formally it is a verse of exception, but in substance it contains the aethetics of the completion with the most harmonic unity and vitality. Oriental aesthetics is based on odd numbers. There exist various alterations in which Sijos express their beauty.
Waka has a form of 5ㆍ7ㆍ5ㆍ7ㆍ7 bases on the strokes of 4ㆍ4ㆍ4ㆍ4ㆍ4. Each verse contains 8 syllables and it contains as many pauses as it lacks. In particular, the first and the third pauses bisect the flow of tones, and the first 5-syllable verse becomes the subordinate verse to the second and third verses and bisect the flow of tones into 「5ㆍ7ㆍ5 / 7ㆍ7」. This is the characteristic of versification and aesthetic sense of Waka. Waka starts with 5-syllables, changes to 7ㆍ5 and then ends with 7ㆍ7, and this structure makes the rhythm of Waka good. 7ㆍ5 is the rhythm of airiness, and 7?7 is a stable rhythm without any pause. We found that it was this structure through which Waka expresses its beauty.
목차
1. 序論
2. 鄕歌와 『만요수』에 나타난 詩形
3. 鄕歌와 와카의 문학사적 意義
4. 時調와 와카의 律格的 特徵
5. 時調와 와카에 表出된 美意識
6. 結論
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UCI(KEPA) : I410-ECN-0101-2009-710-016664491