• Sijohaknonchong
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• v.22
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• pp.5-25
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• 2005

The purpose of this study is to show Da-seuck(다석) and his Sip those were never introduced to the academic world of Korean literature yet. Daseuck who kept company with Yook-dang(육당) and Chun-won(춘원) was a great philosopher of religion. He had ranged over world wide philosophy and founded his own angle of view to God. He had written diary in which many Sijo Poems more than 2,200 were written for 20 years from 1955 to 1974. The special features of his Sijo and the historical meanings are: First, Daseuck had written the most numerous Sijo Poems in number. Second, one of the special features of his Sijo is that most of his Sijo Poems contains his own ideas of God that is caused by his religious belief and his angle of view to Sijo. Third, his poetic words are too difficult to understand because he had used Korean old language that he understand them peculiarly.

• Sijohaknonchong
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• v.24
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• pp.199-221
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• 2006

Daseuk Yeungmo Ryu, the author of the most Sijo poems in the history of Korean Literature, and his Sijo poems were once introduced by me. which is a small part of his world of Sijo, though. The goal of this study is, as its succeeding research, to reveal the features of Daseuk's Sijo poems and their significance in detail. There have been not a few poems which accepted religious contents in the history of Korean literature. Especially, Gesong In the Buddhist Zen is a typical example of the encounter between literature and religion. What is more. Buddhism was in alliance with Hyang-go in the Silla dynasty and with Gasa in the Chosun dynasty. Gasa was effectively used in accepting Buddhism as well as Taoism and Catholicism. Sijo has seemed to be farther from religion than Gasa has. However, Daseuk, a renowned religious thinker in the 21st century. expressed his religious ideas in Sijo, which has not been found in the history of Sijo before. Considering Hangeul as a special tool of expression, Daseuk delivered his condensed ideas in poetic dictions in a unique way. Each word in his Sijo poems implies his religious ideas, which are marked in a special transcription. It makes his Sijo difficult to understand. Yeungmo Ryu's Sijo poems should not be left unnoticed just because they are hard to understand but should have follow-up researches so that Daseuk's Sijo, which is the most in number and the most unique in its style, have to be embraced in Korean literature.

• Sijohaknonchong
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• v.23
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• pp.161-188
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• 2005

The purpose of this study was to delve into the morphological types of Sijo in an effort to determine the morphological structure of Sasul-sijo, and it's also attempted to present standard about how to discriminate Pyong-si, Eos-sijo and Sasul-sijo from one another from a morphological standpoint. It's suggested that Si with tee Jangs, six verses and 12 stanzas or more, with three Jangs, seven verses and 14 stanzas or more, and with three Jangs, eight verses and 16 stanzas or more should respectively be called Pyong-sijo, Eos-sijo and Sasul-sijo. After what Sijo was and what's not were discussed, how to distinguish Eos-sijo from Sasul-sijo was described, and finally, the structure of Sasul-sijo was presented. As for Sijo and non-Sijo, the types of works that consisted of tee Jangs, like Sijo, yet didn't suit its framework and Yuljo and were written in Chinese characters were regarded as non-Sijo. Concerning discrimination between Eos-si and Sasul-sijo, the type of Sijo that included one more or higher number of verse(s) and two more or higher number of stanzas in one of three Jangs was defined as Eos-sijo, and the type of Sijo that involved two more or higher number of verses and four more or higher number of stanzas in one of three Jangs was called Sasul-sijo. In other words, Eos-sijo contained one more verse in one of tee Jangs, and Sasul-sijo included one more Jang in one tee Jangs. The sort of Sijo that contained one more Jang in one of three Jangs could be viewed as Sasul-sijo. Regarding the structure of Sasul-si, there should be three Jangs, eight verses and 16 stanzas in one piece of Sasul-sijo. Any type of Sijo that contained two more or higher number of verses and four more or higher number of stanzas could be called Sasul-sijo. Such an addition of verse and stanza could done in various ways. The examples were (1) adding stanzas the first Jang, 2) adding stanzas to the second Jang, (3) adding stanzas to the final Jang, (4) adding stanzas to both the first and Second Jangs, (5) adding stanzas to th the second and final Jangs, and (6) adding stanzas to all the first, second and third Jangs at the same time. Besides, there was an extremely broad gap between the numbers of verse and stanza in Sasul-sijo, which ranged from a low of eight stanzas to a high of 87 ones in one of three Jangs.