杜谷 高應陟의 시에 나타난 志向意識

Abstract

This article examines the characteristics of EungCheuk Go’s(1531∼1605) poetry, who dedicated his life to studying by focusing on poetry elements reflected in his poetry. DuGok lived in a period when Neo-Confucianism flourished. His poetic style follows the academic circles of the Northwest part of Gyeongsang Province. This means that his poetic style resembles Seonsan and Sangju style, where his family was located. The formal characteristics of his poetry are following; First, the titles of his poetry are relatively short. More than one-third of his poetry titles have less than three letters. Throughout this, it can be seen that he had a simple personality. Furthermore, he did not only practice Neo-Confucius school of thought but also the empirical school of thought. Second, DuGok mainly exchanged his poetry with people who surrounded him. He wrote the majority of his poetry during his studies and while he was serving as a government official. Third, he got ideas from objects or people around him. Dugok’s poetry mainly depicts nature, objects that he could easily contact. Also, terminologies he considered during his studies and reflects the consciousness he pursued. Fourth, his poems used words from Song Dynasty’s acrostic style and an informal style or a conversational style. Regarding the contents of his poems, they are philosophical rather than literary, and descriptive rather than depictive. Throughout an analysis of poetic elements in Dugok’s poetry, the characteristics of his poetry are: First, his poetry has gentle rhythm. He did not use either magnificent or rhythmical words in his poems. Second, looking at his poetry makes elements of paintings. His poems are calm therefore it is like looking at a piece of oriental painting. Third, his poetry has a calm vibe and tone. His poems neither seem to be excited nor thrilled. The atmosphere reflected in his poems is calm and tranquil. Fourth, his poetic styles are calm and fit to tradition or laws at that time. This indicates that he was not an emotional but rational person. The styles show a fortitudinous attitude of Neo-Confucianism disciples in continuous external changes. Ultimately, his intention was to pursue the morality.