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Oh Gwang-un(1689-1745)'s 28 pieces of Haedongakbu is Yeongsaakbu(詠史樂府) that had accepted and recited 28 kinds of historical stories from the period of the Three States to Goryeo period. A historical story in short sentence is put in front of every piece of works, thereby being able to know contents of any historical book, and being a source as well that the historical story was embodied as a piece of work. Accordingly, all of 28 pieces have a system of 'historical-story work.' This Haedongakbu has the same name of the work collection as Haedongakbu by Sim Gwang-se(沈光世) in the previous period and by Lee Ik(李瀷)and Im Chang-taek(林昌澤) in the same period, was titled as a meaning of Korea's Akbu(song poem) in comparison with China's Akbu.
Yeongsaakbu in Joseon period is begun from Kim Jong-jik'(金宗直)s Dongdoakbu(東都樂府), originated from Sim Gwang-se's Haedongakbu, and was succeeded and developed by Lee Ik's Haedongakbu, Im Chang-taek's Haedongakbu and Oh Gwang-un's Haedongakbu.
The historical books, to which Oh Gwang-un referred in order to create Haedongakbu, include Samguksagi, Samgukyusa, Goryeosa, Shinjeungdonggukyeojiseungram and Dongguktonggam. It has no case that literally cited long sentence with contents related to historical book, but accepted it with short sentence by abbreviating, correcting, and modifying. The historical story, which was recorded side by side in front of a work, is more simple compared to other people, and is shorter in length of sentence.
Even what embodied this historical story as a piece of work has diverse looks. It has 3-letter name as title and is mostly what embodied the abbreviation of materials, the symbol of a fact, and the repertoire of a song. Gubeop(method of forming one verse of a poem) is mostly what mixed 3 letters, 5 letters, 6 letters, and 7 letters. Pyeonbeop(method of forming one piece of poem) was used that 1 piece is composed of 8-10 paragraphs. Even the rhyming method(押韻法) was used diverse methods. Accordingly, it used a free form that is not consistent. Even in expression of contents, it embodied by inserting the important part, special matter, and conversational part of historical story into poetic phrase. According to a writer's historical consciousness, the character and event were either praised or denounced.
Oh Gwang-un's Haedongakbu had influence upon Lee Gwang-sa(李匡師) and Lee Yeong-ik(李令翊), thereby having led to the composition of Donggukakbu(東國樂府).
Yeongsaakbu in Joseon period is begun from Kim Jong-jik'(金宗直)s Dongdoakbu(東都樂府), originated from Sim Gwang-se's Haedongakbu, and was succeeded and developed by Lee Ik's Haedongakbu, Im Chang-taek's Haedongakbu and Oh Gwang-un's Haedongakbu.
The historical books, to which Oh Gwang-un referred in order to create Haedongakbu, include Samguksagi, Samgukyusa, Goryeosa, Shinjeungdonggukyeojiseungram and Dongguktonggam. It has no case that literally cited long sentence with contents related to historical book, but accepted it with short sentence by abbreviating, correcting, and modifying. The historical story, which was recorded side by side in front of a work, is more simple compared to other people, and is shorter in length of sentence.
Even what embodied this historical story as a piece of work has diverse looks. It has 3-letter name as title and is mostly what embodied the abbreviation of materials, the symbol of a fact, and the repertoire of a song. Gubeop(method of forming one verse of a poem) is mostly what mixed 3 letters, 5 letters, 6 letters, and 7 letters. Pyeonbeop(method of forming one piece of poem) was used that 1 piece is composed of 8-10 paragraphs. Even the rhyming method(押韻法) was used diverse methods. Accordingly, it used a free form that is not consistent. Even in expression of contents, it embodied by inserting the important part, special matter, and conversational part of historical story into poetic phrase. According to a writer's historical consciousness, the character and event were either praised or denounced.
Oh Gwang-un's Haedongakbu had influence upon Lee Gwang-sa(李匡師) and Lee Yeong-ik(李令翊), thereby having led to the composition of Donggukakbu(東國樂府).
목차
Ⅰ. 序言
Ⅱ. 〈해동악부〉성격과 사화의 수용 양상
Ⅲ. 사화의 시적 형상
Ⅳ. 《해동악부》의 위상
Ⅴ. 結語
【參考文獻】
〈Abstract〉
참고문헌 (2)
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