谿谷 張維 詩論 硏究 - 詩經의 영향을 중심으로 -

Abstract

It is well known that Gye-kok Chang-yu, who was born with bright qualities since he was young, was proficient not only in Yuga Scriptures such as “The Book of Odes”, but also in Taoists(道家)・Buddhist(佛家)・medicine and divination(醫卜)・astronomy・geography. And further his academic achievement was also supported by these studies. On the premise of this academic background, this paper studies theory of Si-seo(詩序說), theory of Si-sa-gyeng(詩史經說), theory of Sa-bu(詞賦說), theory of Cheon-gi(天機說), focusing on the influence of “The Book of Odes” on Gye-kok’s criticism of poems. Gye-kok’s “Si-seo(詩序)” had abandoned “Mo-si-seo(毛詩序)” and completely denied Juja(주자)’s opinion that claiming the theory of “obscene writers(淫者自作)”. This is meaningful in that it showed an open consciousness that academic research should be conducted in various ways of thinking, breaking away from the academic atmosphere of one-sided to the Juja. The theory of “Si-sa-gyeng” could be seen that Du’s poetry which was fused by peotry, history, and scriptures were mainly influenced from the Yuga scriptures, including “The Book of Odes”. This is a creative understanding of Gye-kok which has deviated from common sense that regards Du’s poetry as a history of poetry. It is worthy that Gye-kok has presented the characteristics of Si-sa-gyeng as “keen and meaningful(言切志深)”, “well equipped content with the point(事核而備)”, “the satire is indirect without hidden(刺婉不隱)” and the content of Gye-kok’s criticism of poems could be extracted from these facts above. The theory of “Sa-bu(詞賦)” considered “I-sao(離騷)” as a variety of “The Book of Odes”, “Sa-bu” as a version of “I-sao”, and the connecting keyword between “The Book of Odes”, “I-so” and “Sa-bu” as “beautiful and custom(麗以則)”. “Sa-bu” is similar to the role of “The Book of Odes” in Si-gyo(詩敎), such as correcting disposition and restoring human conscience and the law of things. However, one of the important causes of Gye-kok’s tendency to “Sa-bu” is identified as the state of spiritual and exquisite literature and art. This suggests that it cannot be achieved unless it reaches the level of “nature’s mystery(獨秉天機)”. The theory of “Cheon-gi(天機)” includes form elements such as “the sound and color of the poem(聲色)” which has the content of nature expression of sincere feelings. Although Gye-kok has not directly related Cheon-gi to scriptures, it was found that his criticism of poems is always based on Yuga scriptures from the reviews by himself or others. His terms and concepts of poetry review generally has not deviate from the category of Yuga’s criticism of poems. From the point of view of “I-in-gwan-si(以人觀詩)” claimed by Gye-kok, it is clear that the basis of the theory of “Cheon-gi” lies in Yuga’s criticism of poems. This is also evidenced by the mention of Hong Yang-ho(洪良浩), which defines “Guk-pung(國風)” as a poem of Cheon-gi. In particular, the theory of “I-in-gwan-si(以人觀詩)” corresponds to the modern social criticism methodology. “Sincere feelings and realistic environment(眞情實境)” and “suitability between feelings and conditions(情境妥適)” are nothing but the artistic conception(意境) of “fusion of feelings and conditions(情景交融)”. The theory of “Cheon-gi” is in line with the inspiration theory(靈感說) of modern creation of poetry. In short, the value of Gye-kok’s Cheon-gi theory could be discussed in that it approaches modern consciousness while based on traditional criticism of poems theories.