東華 李海應의 燕行詩 硏究

Abstract

In 1803, Donghwa Lee Hae-eung(1775-1825) traveled Yanjing following Seojangguan Seo Jeong-bo and left a record of his visit, 『Gyesangijeong』. Unlike other Yeonghaengrok(Yanjing Travelogue), 『Gyesangijeong』 captured his visits and experiences in 445 Chinese poems from Volume 1 to Volume 4. However, existing studies have focused on knowledge and information such as Yeonhoesi and Gwanhoesi about experiences and visits in Beijing, and exchanges between culture and writers, and little careful consideration has been given to Chinese poems which express personal emotions and feelings. Although Lee Hae-eung was unable to enter the government office as a family member of a declining family, he had great literary pride with his extensive knowledge and poetic talent. He balanced Yeonghaengsi(燕行詩) with prose and poetry, which contain the knowledge, experience, nostalgia, and longing for his hometown. To examine Lee Hae-eung's aspect as a poet and writer, this study examined his poems by dividing them into the poetic excitement of great travel, the nostalgic feelings, and the manifestation of consciousness against Qing Dynasty. In the poetic excitement of great travel, he sublimated high spirits, excitement, and anxiety from the fields of Yodong and the journey to Yanjing into poetic excitement. In the nostalgic feelings, he briefly depicted the origin of geographical names and related ancient history of historical sites encountered on the journey to Yanjing using poetic motifs. Passing through Songdo, he toured Goryeo's castle, ponds and towers, and looked back on the rise and fall of the history. At the historical sites related to the two Manchu Invasions, he depicted old stories of the involved people and the reactions of the future generations, and when passing through the Daereungha, he comforted the souls of the dead. In the manifestation of consciousness against Qing Dynasty, it was possible to look into how his inner consciousness of Qing Dynasty was embodied. Upon entering Qing Dynasty, he showed his discomfort about degrading changes in Chinese culture and customs by comparing the traditional music, clothing, and customs of the people with those of Korea, and showed his pride in his own culture. He described himself as ashamed for becoming an envoy to pay tributes to Qing, citing the integrity of Jeon Hoeng, Baek Yi, and Sook Je.