원가의 재해독과 문학적 해석

초록

This paper interpreted <Wonga(怨歌)>, one of the hyanggas(鄕歌) in 《Samgukyusa(三國遺事)》，and considered of its literary meaning. Through the interpretation of the first half, I could envisage clearly the poetic images such as the big cone pine that overcame the season of withering and the king that changed his mind in that season. Especially, through the interpretation of the third line, I could find a concrete relation between the two poems of loyalty, <Wonga(怨歌)> and <Jonggwajong (鄭瓜亭)>， which many scholars have considered of. In the mean time, through the interpretation of the latter half, I reconsidered of the literary interpretation of ‘wol(月)?yon(淵)?lang(浪)?sa(沙)’， which has provoked many arguments so far. I interpreted this part as follows: 'A pond reflecting the moonlight clearly, the sand under the pond. The sand is staring the moon, but the compensation has been forgotten by everyone in the world!'. Based on this translation, I argued what the poetic terms imply. The moon implies the king, and the sand means the writer, Sin Chung(信忠). The pond implies the political situation, and the waves mean the political conflict. The following is the list of the newly interpreted phrases in this paper: Line 1: ‘muljilhoji (物叱好支)’ in this line should be interpreted as got dyoh?n(갓 됴흔)";, which means the best of a species. Line 2: ‘yiokbok(爾屋?)’ in this line has been interpreted in various ways by many scholars. However, I verified that the early interpretation by Yang Judong was correct. According to him, this part is interpreted as ";yiul?(이우러)";, which means to be withered. Line 3: This line should be divided into four segments: “y??(汝於) / tabok(多支)/ haengje(行齊) / kyoineun(敎因隱)”. Especially ‘tabok(多支)’，the second part of them can be decoded as ‘tahi(다히),, which means together. Line 4: ‘Ton(頓)’ in ‘angdoneun(仰頓隱)’ was not used as a chaja(借字)，a sign that indicates the Korean vernacular by borrowing the sound of Chinese characters. On the contrary, it functioned as a Chinese character itself in this part. ‘Tong(冬), at the end of the line also has been often considered as a chaja (借字). However, this word should be interpreted as a Chinese character too. Line 5: ‘Yongbok(影支)’ is not a noun but a verb, which means to reflect clearly. ‘Koliin(古理因), is not a noun either but a verb, which means to get old ‘Jijil(之叱), has been translated as a border by some scholars. However, I argued that it has only a grammatical function and can be translated as ";at (잇)";. Line 6: ‘Haengsirang(行尸浪)’ has been generally translated as flowing water, but in fact it means waving water. ‘Saui(沙矣)’ is not a chajai借字) but functions as a Chinese character, and it means sand On the contrary, ‘Yibokyobok(以?如?)’ is a c/각/a(借字) that indicates ‘yida(-이다)’. Line 7: Yang Judong already interpreted this line perfectly. Line 8: I interpreted ‘Tojijil(都之叱)’ in this line as ‘moduyet(모두옛)’. I also argued that ";yilloeun(逸烏隱)’ means to be forgotten, and that ‘je(第)’ has the same connotation as ‘Teungje(等第), that means compensation for efforts.