고전과 노래, 시조의 이중적 위치 ―1890년대부터 1910년대까지 시조를 중심으로― = Double Position of Sijo Between a Classic and a Song ―From the 1890s to the 1910s, Centered on Sijo―

다국어 초록 (Multilingual Abstract)

This study focuses on the hiatus in the history of Sijo literature from the end of the 19th century to the 20th century. We examine the transition of Sijo toward modern popular art and modern literary genres from the 1890s to the 1910s.
The Sijo of the Enlightenment period attempts to resist Japanese colonial rule by criticizing reality or satirizing the times of colonial Joseon via newspapers and advocating collective values of patriotism and enlightenment. Consequently, the Sijo class introduced the Sijochang(時調唱) form, which secured a broad public base at the time, for immediate and widespread propagation. However, the Sijo of the Enlightenment period did not reach the original form of poetry that expressed the original lyricism or individual emotions, as they devoted themselves to nationalistic writing and demonstrated most of their merits as a musical song. However, it showcased the limitations of the transition to literature poetry.
An example showing the mixture of these two music and literature styles is available in the translation of the Sijo by missionaries James Scarth Gale and Homer Bezaleel Hulbert. Gale translated the Sijo using the original Namhoontaepyeongga(南薰太平歌), which is a critic of an ancient Korean song of unknown origin. Additionally, Hulbert presented a single original Sijo and added imagination to explain the Sijo in three acts of a play, similar to a Sijo singing performance. Through the Sijo, they attempted to secure the Korean song form and the “ethnic aspect” or Joseon uniqueness from the Korean language.
Meanwhile, Choi Namsun reorganized the pre-modern musical genre of the Sijo from a modern perspective and demonstrated the acceptance of the literary genre of the Sijo as a reading material. He attempted to incorporate the Sijo into “classical” and literary genre “poetry” by introducing 23 ancient Sijo in nine volumes, beginning with the second volume. Additionally, from the first issue of the Chungchoon to the fourth issue, Choi Namsun attempted to present the Sijo as a modern reading material and a culture to be learned as modern knowledge, in which visual information and knowledge can be combined, while incorporating the Sijo with the illustrations of Ahn Jungsik.
In summary, similar to the perception of Gail and Hulbert of the Sijo as a Korean music genre and the continuation of their translation work, the Enlightenment period of the Sijo included in the newspaper adopted the form of Sijo creativity familiar to the general public for enlightenment, whereas Choi Namseon attempted to present the Sijo as a cultural material, a reading material, and literature (to read). The most important text for all of them was the Sijochang(時調唱) collection of songs, Namhoontaepyeongga(南薰太平歌). The Namhoontaepyeongga(南薰太平歌) was the main text linking the history of the Sijo in the 19th and 20th centuries.