Earticle

This essay has a doubtful point explained by other researchers who endlessly tried to find the "original text" of <Guunmong(九雲夢)>. So far, we have a lot of studies on the text of <Guunmong>. All of them tried to distinguish the "original text" of <Guunmong>. However, <Guunmong> is not one of the sacred books, which people would not even change a letter of them. <Guunmong> is a novel, and anyone who transcribed it could have changed its text on purpose. Even if we suppose that there was no intentional change by transcription, it is still impossible to reconstruct the "original text" because both "A group" and "B group" texts have defective sentences, and it is believed that <Samjangsi(三章詩)> which was used as a proof was not on the "original text" from the start. The conclusion of this research is that without Seopo(西浦)'s own handwriting text of <Guunmong>, any effort to find or reconstruct the "original text" of <Guunmong> based upon existing texts, is in vain.

On the Hymnal Lyricism of <Mojukgirangga(慕竹旨郞歌)> and <Changiparangga(讚耆婆郞歌)> in Relation to Literary Time and Genre

Lee Saek(1328～1396), who wrote the most poems among the poets in Goryeo dynasty， left 70 poems about flowers. He lived through Goryeo and Josen Dynasty. In Lee Saek's poems, not only purely describe the flowers poise, but also mainly emphasize the characteristics of the writer's life. From admiring the flowers to the composing the poems about flowers, brings a sense of elegance to Lee Saek's works. His chrysanthemum poems focus on Tao YuanMing's immersion with chrysanthemums' image. The chrysanthemums are used as a symbol representing Tao. The chrysanthemums struggle between reality and ideal, which represented the pursuing of the ideal human principle. In Lee Saek's poems, the lotus is pure and white, representing righteousness. In contrast to the ume and chrysanthemums poems, the composition of the lotus poems was done during chatting, dining and drinking with friends. When drinking with friends with similar interests, admiring lotus blossoms was enjoyed greatly by the writer. Lee Saek's focus was on describing the exterior appearances of the flowers, rather than on describing the symbolic spirit of these flowers represented. Therefore, in his poems about flowers, it is extremely rare to maintain singular representation for each flower. In other words, in his poems about flowers, he leaned more towards these flowers' spiritual symbol than the flowers' beauty. This is due to the fact that Lee Seak included human nature's principles into the poems about flowers. Of course, the principle of human nature was not the only thing Lee Saek considered when he admired flowers. Some poems were composed based on daily life, these poems, though they bored influences from foremen, can be expressed in a freer fashion to a large extent.

The goal of this paper is to examine how Korean songs of the early twentieth century developed, primarily through a discussion of genres. More specifically, the goal is to take the lyrics of the songs collected on records from 1907, when the first commercial record was recorded, to just before liberation in 1945, divide them into genres, examine which specific genres were predominant in which era, and seek the reason for this in social history. The songs introduced through records, as is widely known, were not just popular songs. The records of the day contained traditional songs such as folk songs and conventional songs such as pansori and japga as well as the popular songs. Traditional songs, conventional songs, and popular songs can be again divided into narrative, didactic, theatrical, and lyric genres. Narrative songs include pansori, didactic songs include japga, theatrical songs include manyo(comic songs), and lyric songs include folk songs, sinminyo(new folk songs), and trot. Examining the development of Korean songs according to era, it can be said that dtdactic and narrative songs were predominant from 1907 to the 1920s. However, with the advent in 1932 of "Hwangseongeui jeok," a popular song in the true meaning of the term, lyric songs became more dominant than other genres. This can be called the start of the era of popular songs as lyric songs. Theatrical songs, along with lyric songs, continued to be introduced, but they appeared more as jokes and nonsense in the theatrical sense rather than as songs. The composition of Korean songs in the early 20th century can be divided into two general periods, the early period and the later period. During the early period, narrative songs and didactic songs were dominant, while theatrical songs and lyric songs had a respectable position in the later period. The work that serves as the dividing point between these two periods is the 1932 song "Hwangseongeui jeok." It can be seen that the periodic background of modern times and colonialism and the "discovery of the self' that took root during that time were at work behind the advent of tbs son of lyrical song. Examining the literary genres of Korean songs is another way of looking more deeply at the composition and aspects of development of Korean songs in the early 20th century. Furthermore, by examining each of the genres within the overall composition of "songs," we have taken the first step in solving the problem of the genre classification of japga, which has been a controversial issue. It was also seen how didactic songs and narrative songs gave way to lyric songs, by examining the actual works against the background of that period. This task is important in that it lays the foundation for determining how popular songs will develop in future generations. This paper is significant in that it actively treats Korean songs as a subject of literary study and in that it discusses the composition and development of Korean songs through the literary genres of Korean songs.