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It is academically recognized that Jeong Wan-Young's sijo better represent
Oriental ideas. The purpose of this study is to investigate Taoistic
characteristics of Jeong Wan- Young's sijo. This is an effort to succeed and
further deepen and extend previous relevant researches. For the purpose, this
researcher categorized the poet's sijo in accordance with such characteristics
as above mentioned. Findings of the study can be summarized as below.
Pieces of Jeong Wan-Young's sijo which are based on Taoistic ideas are largely
classified into three groups.
First, some pieces of Jeong Wan-Young's sijo represents an orientation of
return to hometown which is brought by the sense of loss. His sense of loss
is attributed to the facts that his home is not what it was any longer and that
he can't return to the old home. To overcome the sense, nevertheless, the poet
is dreaming of return to home. The home found in Jeong Wan Young's sijo
is something fundamental and original that he purposedly provided against
the feeling of loss. It complies with the concept of 'Bokgwigigen(�͚w����)', a
pursuit of Taoism.
Second, other pieces of Jeong Wan-Young's sijo are seeking purity to
retrieve childish innocence. Their subjects include the season of spring,
dreams of childhood and longing for mother all of which represent the poet's
strong desire for such retrieval as above mentioned. It may be said that
pursued by that pieces are 'Purity, Feebleness and Smoothness' that are
sought by Taoism.
Third, other pieces of Jeong Wan-Young's sijo are considering human as
a part of nature and seeking human life in harmony with nature. In other
words, they are seeking union between human and nature which means going
beyond discrimination between self and external objects, that is,
'Mulayangmang(���҃���)'. This may refer to return to nature which is the ultimate destination of Taoism