〈황산별곡〉의 작자 의도와 문예적 검토

Writer’s Intention and Literary Examination of 〈Hwangsanbyeolgok〉

&nbsp;&nbsp;This study examined 〈Hwangsanbyeolgok〉, a Korean verse which I recently discovered. The background of this piece is the history of the Southern Party which the Father of King Gojong sponsored in the late 19th century, because 〈Hwangsanbyeolgok〉 seems to come from this historical process.<BR>&nbsp;&nbsp;〈Hwangsanbyeolgok〉 is a long Korean verse with 151 phrases and is a typical noble verse that follows the 3？4 and 4？4 formats. In linguistic perspective, it reflects the Korean language of the 19th century.<BR>&nbsp;&nbsp;In literary perspective, 〈Hwangsanbyeolgok〉 is mutually cross-related with Lee, Gwan Bin’s 〈Hwangnambyeolgok〉. 〈Hwangsanbyeolgok〉 used the existing 〈Hwangnambyeolgok〉 as its reference text and observed and altered it.<BR>&nbsp;&nbsp;In conclusion, 〈Hwangsanbyeolgok〉 is the Korean verse of Gugok-Style considering that it is singing the origin of truth using the mountains and waters of 〈Hwangsangugok〉. Its characteristic is that it specifically clarifies the truth and philosophies of China and the Orient to sing about the landscapes of 〈Hwangsangugok〉. Thus, this study understood 〈Hwangsanbyeolgok〉 as a Taoist verse that combined Dotong Style of Taoist background and Gugok Style which was popular after the mid-Joseon Dynasty.