당대(唐代) 어부사(漁父詞)와 한국 어부사의 비교

The Comparative Study on Rhymes of Fishermen of Tang Age and of Korean Sijo

This paper has compared the transfiguration of ‘Rhymes of Fishermen(漁父詞)’ in Qu Yuan(屈原)’s 「Li Sao(離騷)」to ‘Rhymes of Fishermen’ appearing in Korean sijo. Poetry that expresses emotion and sense through the figure of fishermen originated from 「Chuci(楚辭)ㆍFishermen(漁父)」. Taken the lead by Lu Yen(呂巖)’s 「18 selections of Rhymes of Fishermen」, these poems were tinged with Taoist Sun-do(仙道), and configurated fishermen into ‘the hermit.’ And when it came to Tang age, starting from Zhang Zhihe(張志和)’s 「Tune of Yugezi(漁歌子)」 and Huatingchuanzi(華亭船子)’s 「Bozhaoge(撥棹歌)」, they borrowed the figure of fishermen and transfigured it to express the hidden will, zen mediation, or spiritual awakening. Both sijo of Korean poetry and rhyme of fishermen of Tang poetry were under the influence of folk songs, and each of them developed to have each formal syllabic system of 3-4 meter and 7-7-3-3-7 meter. Tang’s ‘fishermen rhyme’ merged Buddhism, Taoism, and Philosophical Taoism and showed the plural figuration such as a hidden scholar, a hermit, or a Buddhist priest, etc. On the contrary, in sijo, the rhyme has a distinct feature of Philosophical Taoist hermit.