일제강점기 이승규(李昇圭)의 시화집(詩話集)에 나타난 용사(用事)에 대한 견해 고찰

Abstract

This work is designed to examine various discussions on Yongsa(用事) that can be identified in Si-hwa collections(詩話集). To this end, we narrowed the scope in terms of time period to focus on Si-hwa collections compiled during the Japanese colonial era, with particular emphasis on analyzing the works of Lee Seung-Gyu(李昇圭, 1882-1954). By discussing Yongsa, a concept that still remains controversial in academic circles in terms of its definition, we have specifically examined one aspect of the process of organizing the heritage of Chinese literature. In Chapter 2, we comprehensively presented all the representative Si-hwa collections that existed during the Imperial Japan's forced occupation period, while also examining in detail the characteristics of Lee Seung-Gyu's Si-hwa collections. Subsequently, by thoroughly reviewing the sections where Lee Seung-Gyu discussed Yongsa, we established the research subject. Moving on to Chapter 3, we aimed to understand the views on Yongsa as identified in Lee Seung-Gyu's Si-hwa collections. Accordingly, in Section 1, we first examined how the concept and usage methods of Yongsa were presented through the evaluation of poetic phrases. We confirmed that the Yongsa discussed by Lee Seung-Gyu was related to the concept of Shinui(新意), and recognized that he maintained a high level of critical insight in that he acknowledged Yongsa as a concept distinct from Jeomhwa(點化) and discussed the categories of Yongsa. Next, in Section 2, we discussed the subtle boundary between Yongsa and Plagiarism(剽竊), focusing on 『Kyewondamchong(桂苑談叢)』, 『Dongyangsi- hakwonryu(東洋詩學源流)』, 『Kyesansihwa(桂山詩話(東洋詩歌源流))』. Here, we sought to identify how the poetic method of Yongsa differs from plagiarism in terms of composition being not just a simple technique, but an embodiment of the essence of creation. As a result, through Lee Seung-Gyu's Si-hwa collections, we analyzed how Yongsa and plagiarism differ in terms of intentionality, creativity, ethicality, and literariness. Finally, in Section 3, we examined the expression of views on the utilization of Yongsa and its significance, which was an attempt to find answers to the fundamental question of ‘Why use the poetic technique of Yongsa(用事)?’ Through this, we were able to infer that Lee Seung-Gyu possessed professional insight in that he accurately understood what meaning this poetic method held in the creation of Chinese poetry, depending on how Yongsa was utilized.