조선 후기 시단의 청대 4대 시학이론 수용 양상 연구

Abstract

This study analyzes how the four major poetic theories of Qing Dynasty were accepted at the poetical circles of the late Joseon Dynasty. In this process, through the poetic theory and poetry of the individual literary people of the Joseon Dynasty , the detainees, a comprehensive and systematic analysis of the background and personal tastes of the times worked. First, among the four major poetic theories of Qing Dynasty, Wangshizhen(王士禎)'s shenyunshuo(神韻說) was established as the leading poetic theory of the late Joseon Dynasty based on the background of the era. I looked at it. In addition, I analyzed the patterns accepted in the late Joseon Dynasty by dividing individual writers and schools. First of all, this study examined the acceptance of four fine poets(四家詩人) including Lee Deok-mu(李德懋). Kim Jung-hee(金正喜) starts from the perspective of shenyun(神韻)'s ‘inherent domain of art beyond the sense and concept that can be conveyed in language’. The aspects of acceptance were examined in terms of ‘pleasure(興趣)’ etc. Next, among the four major poetic theories of Qing Dynasty, Shendeqian(沈德潛)'s gediaoshuo(格調說) and Wengfanggang(翁方綱)'s jilishuo(肌理說), which were accepted in the late Joseon Dynasty, were analyzed separately. In the first half, I examined the acceptance of Jung Yak-yong(丁若鏞) among literary writers, focusing on the poems of clemency and humane(溫柔敦厚), which is toned by gediaoshuo(格調說). In the latter part, I examined the fact that jilishuo(肌理說), which had a historical research influence on the back, was held on the back of a popular testimony wind. The writers who accepted jilishuo(肌理說) at that time could be named Shin-yu(申緯) and Kim Jung-hee(金正喜). Most of them proceeded in an eclectic way to make up for the shortcomings of gediaoshuo(格調說) and shenyunshuo(神韻說). In addition to this, I also looked into Lee Deok-mu(李德懋)'s acceptance of jilishuo(肌理說), which actively used books related to the historical research influence of Qing Dynasty. Lastly, this study analyzed how the xinglingshuo(性靈說) of Yuanmei(袁枚) was accepted in the four major poetic theories of Qing Dynasty. xinglingshuo(性靈說) and the Spirit Poetry(性靈詩) were introduced in the process of four fine poets(四家詩人) interacting with Qing dynasty scholars and poets and exchanging cultural literacy. Particularly, among the four fine poets(四家詩人), Park Je-ga(朴齊家) puts the core of his poetics into the expression of self-sound(自家音), which is another expression of the spread out spirit(獨抒性靈). Kim Jung-hee(金正喜) regards the implications of the Holy Spirit(性靈) as a passion and a personality. However, he pursued an eclectic attitude that the Spirit, which he pursued, had to go through the process of correcting through ‘gediao(格調)’ because it contained debauchery and bizarre elements.