The Acceptance of Wild Goose Motifs in Japga and Its Meaning

As part of the subjective historical exploration, this article examined the wild goose motifs that appeared in Japga. The shape of the wild goose could be classified into five motifs in total. It was a means of conveying the news, a role representing the anxiety of the speaker, beautiful scenery of Eight places of suzhou and sanjiang, a variation of the geese motif, and a case that was conventionally used but did not give any meaning to the work. First of all, the season of late autumn, when the cold wind blows, along with the appearance of geese, was utilized only when the news was delivered to partner. Next, in the motif representing the anxiety of the speaker, the depth of the poetic speaker was increased with the appearance of a single geese and a roaring cry. In the last ‘Pyeongsanakan’ motif in the Sosang Eight Scenic Views, a group of geese with reeds appeared. In addition, some odd jobs have depicted the geese as swallows, as beings who can go anywhere they want to go, and featured geese who visit their homes well. In this paper, we were able to capture some of the changes in the meaning of geese motifs among the birds that appear in classical poetry. However, many bird motifs that have not yet been analyzed remain. It is also considered necessary to compare with other bird motifs that repeatedly appear in literary works.