‘「關雎」, 樂而不淫, 哀而不傷’에 대한 일고찰 -「관저」는 어떻게 슬픔의 시가 되는가?-

Abstract

This paper aims to re-examine the meaning of the phrase “「關雎」, 樂而不淫, 哀而不傷”, which appears in the Ba Yi(八佾) of the Lun yu(論語). In this regard, I have pointed out the limitations of the major historical commentaries on this passage and explored alternatives to those theories. I found that both the old and new commentaries(古注&新注) have interpreted the passage with their own rationales and ideas, but most of them have the same limitation in that they try to find the ‘The grief without being hurtfully excessive(哀而不傷)’ in the story of the poem itself. But ‘the act of searching for the lady’ in the poem may consider it as grief(憂), but it is difficult to see it as sorrow(哀). On the other hand, a group of scholars from the Qing dynasty to modern China understood ‘樂而不淫’ and ‘哀而不傷’ as dualistic, as illustrated by the theories of Song Xiangfeng(宋翔鳳) and Pi Xirui(皮錫瑞). Their attempts at a dualistic interpretation of the ‘surface(表面)’ and the ‘underneath(裏面)’ is thought to be due to the fact that they all emphasized the theories of the Samgasi(三家詩). Because the School of Samgasi viewed ‘Guanjeo’ as a poem that worries about the decline of the Tao of the Zhou Dynasty(周道衰), and thus the possibility of interpreting ‘哀而不傷’ in terms of such ‘sorrow of the state’ arises. Through the discussion in this paper, we have found evidence that the context of the the Samgasi can be linked to the interpretation of ‘哀而不傷’ due to the texts of ‘About the orde(離騷序)’ written by Pan Ku(班固) and ‘Fu on Conveying My Resolve(顯志賦)’ written by Feng Yan(馮衍). I concluded by discussing that one alternative is to understand ‘哀而不傷’ in the context and theme in which it was created because looking for the ‘哀而不傷’ in the content of the poem itself had the limitations.