??? ??? ?? ?? ?? (A comparative study of Hyangga and Kim Yeongrang��s poems)

??? ???? ?? ?? ??? ???? ??? ???? ???? 4??? ???? ???? ???? ?????. 4?? ???? 8?, 12? ??? ?? ?? ??? ?? ??? 4?, 8?, 10? ??? ?? ??? ???. ?? ?? ??? ? ??? ?? ???? ?? ??? ?? ???? ??? ? ? ??.
?? ?? ??? ?? ?? ??? ?????. ??, ??, ?? ?? ??? ??? ?? 4??? 1? ??? aa'bc(abcc', aa'bb'), abcb'(abca'), abcd ? ???? ???? ? ?? 4? ??? ???? ??? ????? abcd??? ????. ??? ??? ??, ??? ??? ???? ??? ??? ??? ??? ? ???. ?? 8??? 2? ??? ABCD?? ????? ?? 8? ??? ??????? ? ??? 4?-4?? ?? ??? ?? ??. ??? ??? ?? 2?? ??? ?? ? ??? ????? 4??? 1? ?? ??? 2? ??? ???? 8??? ? ? ???? ?? ?? ??? ? ??.
??? ??? <????-9>, <????-49> ?? 3?? 10? ???? ???? ??, ?3?? ?? ??? ??? ??? 3? ??? ?? ???? ????. ??? ?? ??? 3????? 4??? ?? ???? ??? ?? ??? ??? ?? ?? 2?? 4?? ?? ??? ?? ? ? ??? ? ??? ?? ?? ???? ????? 4?, 8?, 10? ??? ??? ??? ???? ??.
???? ?? ??? ??? ???. ???? ??? ????? ?? ??? <????>? ??? <????-45>(<??? ?????>)? ?????? ? ??? ?? ???? ???? ???? ��???��? ?? ??? ??? ?????. ??? ??? ??? ??? ??? ??? ?? ???? ?? ??? ??? ??? ??? ??? ??? ?? ??? ??, ??? ????. <???>? <????-31>? ? ? 4???? ??? ?? ???? ��?��?? ?? ??? ???? ??? ??? ?? ??? ???? ��??��? ???? ? ??? ?????? ?? ???? ????. ?? ??? ?? ?? ??? ?? ???? ??? ???? ???? ??? ????.
???? 8??? ??? ??? ?????. <???>? ?? ?? ??? ?? ?? ??, ?? ?? ?????? <????-1>(<??? ??? ???>)? ??? ?? ??? ??? ?? ??. ??? ??? ?? ??? ??? ??? ??? ??? ???? ?? ??? ???? ??? ?? ??? ?? ??? ?? ??? ?? ??? ?? ??? ??? ????. ?? ??? ??? ??? ?? ??? ???? ???? ?? ? ?? ??? ABCA'?? ?? ??? ??? ???? ???? ???.
??? ??? ??? ?? ??? ?? ??? ?? ???? ??? ???? ??? ??? ???? ?????. ?? ?? ??? ??? ?? ??? ?? ???? ?????? ? ? ???? ??? ??? ??? ??.

As part of a study to explore the traditional succession aspect of modern poetry, this study examines the relationship between Hyangga and Kim Yeongrang's poems. Primarily, Yeongrang's 4-lines, 8-lines and 12-lines poems are comparable to the 4, 8, and 10-lines poems of the lower genres of Hyangga. Through this, we can infer the path of the formation of Hyangga along with the linter-relationship of the Korean poetry forms.
First, I compared Yeongrang's poems and Hyangga in terms of form. The 4-lines poems, which features words, phrases, and sentences, are classified into three types: aa'bc(abcc', aa'bb'), abcb'(abca'), and abcd. If the former is a form that focuses on repetition and circulation of meaning, the latter is focused on expansion of meaning. Most of the ABCD type of the 2-lines unit is the 8-lines Hyangga, but the combination structure of 4-lines and 4-lines is laid on this basis. Through these comparisons, it is evident that the 2-lines unit is centered and forms a poetry form, or the 1-line unit type of the 4-lines can be extended to 2-lines unit type to become 8-lines form.
Furthermore, Yeongrang's <9> and <49> are common with the 10-lines Hyangga in the meaning structure of the 3-stages formation. Although there are many 4-foots rather than the basic 3-foots of Hyangga, Yeongrang's poems are formed with a larger unit of poetry, with the 2-lines and 4-lines as the basic units, and suggest the stylization process of the 4, 8 and 10-lines of Hyangga that would have been present in the formation period.
Next, I compared their contents. Weolmyeong��s <Jemangmega> and Yeongrang's <45> were compared using their common lyrical features. Both works demonstrated a sense of loss and sadness, and the will of recovery through ��waiting�� was expressed. However, the former used a dialectical phase development in which the transcendental prospect is obtained through life and death, and the latter used repetition and circulation of meaning according to the expression of empirical emotion. Both <Dosolga> and <31> are in 4-lines form, and the latter is enthralled by the skylark��s ��melody�� and is eager for the new poem by imagining the source, compared to the former who orders the ��flower�� to take the Mireuk Buddha left at the official event of the country. The lyrical features that pursue ideas or ideals through the transfer of emotions to poetic objects are common.
We also attempted to compare the contents of the 8-lines poem. The <Cheoyongga> uses visual and tactile senses in contrasting flow inside and outside, and the <1> also demonstrates the image of sensation and dynamic flow. However, in the former the speaker's eyes come in from outside and face the situation in front of him, but the latter focuses on inner feeling as the eyes are closed after seeing the object. In addition, the former has the dynamics of the movement of consciousness following the operation of the senses, while the latter demonstrates the liquidity of inner feelings circulating according to the ABCA' type.
Through the comparison of Hyangga and Kim Yeongrang, this study looked at the relationship on the form and content of Korean lyric poetry that pervades beyond the times. It is necessary to develop this into a more comprehensive discussion by expanding Hyangga features in Yeongrang's poems to other modern poems.