A Study on the Literary Representation and Characteristics of the Gasa Chaeransangsagok in Songgyejaprok

This paper investigates the literary representation and characteristics of the gasa Chaeransangsagok, included in Songgyejaprok, the collected writings of Bak Eung-seong. The aim is to elucidate the work’s literary significance within the tradition of Korean gasa literature. A notable complication in studying Chaeransangsagok is the uncertainty surrounding its authorship; unlike the Chinese poems and sijo also featured in the collection, the work cannot be definitively attributed to Bak Eung-seong. This ambiguity has posed challenges in assessing the text’s meaning and literary value. In addressing this issue, the study first examines the thematic content and authorship of Chaeransangsagok, followed by an inquiry into the circumstances that may have led to its inclusion in the collection. Through this contextual approach, the paper seeks to interpret the work’s place within the broader corpus of gasa literature. Composed of 23 lines, Chaeransangsagok is a concise lyric expressing the poignant longing of a female speaker for her absent lover. Structurally, the work can be divided into four sections: a narrative introduction outlining the separation, the first thematic section expressing reproach toward the beloved, a second section articulating sorrowful yearning, and a concluding segment in which the speaker’s longing intensifies into tragic despair. Given the content and emotional tenor of the text, it is difficult to assert that Bak Eung-seong adopted a female persona to convey his own sentiments. The work’s themes and affective stance diverge markedly from those found in his known writings and biographical background. Instead, considering Bak’s modest lifestyle and the aesthetic sensibilities reflected in his oeuvre, it is more plausible that Chaeransangsagok originated within the cultural milieu of Pyeonghae, where such poetic works were likely performed or composed by female entertainers (gisaeng) and enjoyed in local gatherings. Moreover, the poem’s tragic conclusion distinguishes it from conventional love gasa, suggesting that it may represent an early prototype of the later Sangsabyeolgok subgenre. The work’s formal features—including its consistent 4.4 syllabic meter, distinctive concluding structure, and use of Sino-Korean diction—indicate a transitional position between early and late Joseon-period gasa. These features, alongside its sophisticated composition, further imply a relatively advanced level of literary culture in the Pyeonghae region, particularly as mediated through the performance practices of the time.