The purpose of this is to compare and analyze the metre and form of Sijo and Jueju, which are the most representative forms of Korean and Chinese poetry, and to make a comparison of the similarities and differences of the formal beauty between Sijo and Jueju. First, we examine the metre's structure of two types of poems, on the basis of this, we compare the rhythm system between Sijo and Jueju. The results shows that Sijo keeps the volume metre which is achieved by the syllabic rhythm, on the other hand the structure of metre in Jueju is achieved by pitch level. As a result, we found that the two types of the poems are different from each other. Next, we examine the similarities of forms between Sijo and Jueju, and both them reveal the meaning of the poem. In correlation of Sijo's chapters and Jueju's phrases, it was found that the third line's first sentence of Sijo corresponds to the Jueju's third phrase which translates the meaning of the whole poem. More specifically, depending on the semantic structure, Sijo divided into two-sentence structure, three-sentence structure and four-sentence structure. On the other hand, the forms of Jueju divided into four-sentence structure, two-separated parts structure, three to one or one to three sentences structure, and one to one sentence structure. As a result of comparing the rhyme structures and forms between Sijo and Jueju, we can see the similarities and the differences in the two poem’s styles. There are five similarities between Sijo and Jueju can be summarized as follows. First, both them have diversity and unity. The diversity of the number of syllables in the phoneme is regularized by the equi-length and the sound sustaining amount of the breath, revealing the diversity and unity. Jueju has revealed a sense of flexibility and diversity at the same time as keeping the unified form by using complicated expressions such as exclamations, negations and questions. Second, the formal beauty of Sijo and Jueju is also symmetrical. Sijo consists of three chapters, because of the intermediate rest of four-note pauses, dividing into two phrases again. Jueju also revealed symmetrical and balanced verses achieved by the features of antithesis. Third, Sijo and Jueju are both short and stationary, and form a harmony through the form of the poem. Since both Sijo and Jueju are limited in words and number of lines, it is necessary to express poetry concisely and implicitly in a fixed form. Therefore, not only does it show a refined sense of formality, but also reveals a neat and compact beauty. Fourth, both Sijo and Jueju are short in terms of forms, and poetic dictions are simple, at the same time expressing the will of the speaker, thus implicit means must be necessary. In other words, the words and the number of lines are limited, so they are written concisely and implicitly, living the readers to use their own interpretations. Fifth, it can be said that the natural beauty of the Sijo and the Jueju is accomplished through 'the unity of human's interactions with nature'. In other words, it expresses the lyrical sentiment of the speaker by depicting nature. At this time, the objective world and subjective philosophy are combined to reveal the natural beauty of 'the unity of human's interactions with nature'. There are also differences between Sijo and Jueju. Sijo consists of three lines and six sentences, a parallel of the first and second lines, and a third line as a line overcoming it, that is, subject and self are in the parallel relationship, and unifying in the third line. By closing the connection of three lines, it was revealed that the meaning is completed and the aesthetic sense becoming unified. On the other hand, Jueju leaves the space for the readers in the fourth line. It seems like the poetry is completed in the fourth line, but the meaning of poetry is still continuing, and leaving space for readers imaginate in their own way. It is possible to say Jueju revealed the beauty of aftertaste. Through the discussions on the formative characteristics of Sijo and Jueju, I can provide a basis for understanding not only the poetry literature of Korea and China, but also the culture of both countries. It also appears to have highlighted the emotions of different nationalities of the two countries. In that sense, I hope that this small beginning will be helpful to study not only Sijo and Jueju, but also Korean and Chinese classical poetries. ，韩语论文题目，韩语毕业论文 |
