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This article makes comparative study of traditional meters of Korea and Japan.
Every people has its own poetry and the meter is the foundation of the emotion and an aesthetic sense that the poetry expresses. Therefore the meter of the poetry is the most important than any others. As a consequence of the study of Korean and Japanese meters, we found that they began with the rivival of Sijo in Korea and Waka in Japan in parallel.
There was a difference in Korean and Japanese meters. Korean poetry was characterized by the fact that the number of syllables can change by the theory of feet, while Japanese poetry was characterized by the fact that the number of syllables in its seven syllables phrase and five syllables can not be changed.
This difference was revealed as it is in Korea and Japan poetries. Korean poetry shows various foot patterns through the change of number of syllables inside the feet. The three syllables foot can be changed in many different ways and it became the representative of the foot of Korean poetry. But in Japanese poetry, the rest syllables in the fixed eight syllables phrase plays important role.
It still remains in question whether seven-five rhythm in Japanese poetry came from Korean poetry or not. However this seven-five rhythm can be partitioned into three-four-five or four-three-five rhythm in Korean poetry but fixed in Japanese poetry. The seven-five rhythm in Japanese poetry is extremely beautiful and cheerful and the representative of Japanese meters.
Every people has its own poetry and the meter is the foundation of the emotion and an aesthetic sense that the poetry expresses. Therefore the meter of the poetry is the most important than any others. As a consequence of the study of Korean and Japanese meters, we found that they began with the rivival of Sijo in Korea and Waka in Japan in parallel.
There was a difference in Korean and Japanese meters. Korean poetry was characterized by the fact that the number of syllables can change by the theory of feet, while Japanese poetry was characterized by the fact that the number of syllables in its seven syllables phrase and five syllables can not be changed.
This difference was revealed as it is in Korea and Japan poetries. Korean poetry shows various foot patterns through the change of number of syllables inside the feet. The three syllables foot can be changed in many different ways and it became the representative of the foot of Korean poetry. But in Japanese poetry, the rest syllables in the fixed eight syllables phrase plays important role.
It still remains in question whether seven-five rhythm in Japanese poetry came from Korean poetry or not. However this seven-five rhythm can be partitioned into three-four-five or four-three-five rhythm in Korean poetry but fixed in Japanese poetry. The seven-five rhythm in Japanese poetry is extremely beautiful and cheerful and the representative of Japanese meters.
목차
1. 序論
2. 韓日詩歌의 律格 硏究史
3. 韓國詩歌의 3音步格과 日本詩歌의 7ㆍ5調
4. 結論
참고문헌
Abstract
참고문헌 (18)
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