<屛山六曲>의 구성 방식과 의미 지향 = The Structural Composition and Meaning Orientation of <Byeongsanyukgok(屛山六曲)>

다국어 초록 (Multilingual Abstract)

This study focuses on the connectedness of Byeongsanyukgok (屛山六曲) by Gwongu as a Yeonsijo, particularly examining the debated continuity and thematic aspects of #4–5. Contrary to previous discussions that argued that the work lacks cohesion between individual sijo, this study confirms its structural and thematic continuity as a Yeonsijo.
In #1, the speaker presents his ideal way of life, and in #2, he concretizes it as a “fishing and angling life”(漁釣生涯). #3 illustrates this aspiration through depictions of daily life while also portraying the speaker as a Confucian scholar. The imagery of “floating clouds”(浮雲) in #3 seamlessly transitions into the themes of #4–5, thereby linking #1–2 with #4–5. #4–5 depict thoughts that involuntarily arise in the speaker’s mind; despite his desire to detach from worldly affairs, he is inevitably burdened with concerns for the nation as a Confucian scholar. #6 connects back to #2 through the imagery of the speaker carrying a bamboo basket and living in a fishing village. Furthermore, through the expression “Mureng”(武陵), the speaker portrays Byeongsan as an ideal retreat (避世處), akin to Murengdowon, where he can escape from worldly concerns and live in detachment. Thus, #6 encompasses and integrates the themes of #1–5.
Meanwhile, #4–5 provide a detailed elaboration on the “floating clouds”from #3. #4 describes the attitude of a white bird toward a cuckoo, revealing through the speaker’s emotions that he does not view the situation positively. #5 reinforces this negative perception by depicting a flock of crows chasing a phoenix, symbolizing the continued struggles of the noble bird, similar to the crow in #4. Through these two sijo, the conditions of the crow and phoenix, as well as the speaker’s emotional response, highlight a critical perception of contemporary reality. This, in turn, justifies the speaker’s view of Byeongsan as Mureng in #6. From this perspective, #4–5 are closely linked to #6 and are crucial in interpreting Byeongsanyukgok (屛山六曲). Ultimately, Byeongsanyukgok (屛山六曲) expresses both the speaker’s ideal way of life and a critical awareness of political reality, depicting his aspiration to live in seclusion at Byeongsan, seeking refuge from the world.
The fact that Byeongsanyukgok (屛山六曲) maintains the formal structure of Yeonsijo suggests that Gwongu sought to emphasize normative values. His collected works, including Cheonyurok (闡幽錄) and Ssangyeonseol (雙犬說), criticize the declining morality of the scholar-official class. Furthermore, by advocating a return to fundamental virtues such as filial piety (孝), loyalty (烈), and righteousness (義), Gwongu underscores the importance of ethical restoration. The adherence to the formal structure of Yeonsijo in Byeongsanyukgok (屛山六曲) can also be seen as an effort to uphold moral principles in a changing society. This reinforces the significance of Byeongsanyukgok (屛山六曲) as a work that seeks to reestablish normative values through poetic form.