불교 선시와 「청산별곡」 -3장과 7장을 중심으로-

Abstract

Chapters 3 and Chapter 7 of the “Cheongsanbyeolgok, “a Goryeo Gayo, casts some doubts in its interpretation because of implications, although there is no difficulty in understanding the simple meaning of the words, and there are also insufficient points to explain the relevance of the contents of Chapters 3 and Chapter 7 to the whole of the “Cheongsanbyeolgok.” In particular, it is possible to understand the superficial meaning of the places and actions of objects in Chapters 3 and 7 Chapter of 「Cheongsanbyeolgok」. However, the expressions in those chapters have implications that cannot be understood by ordinary understanding. There is an element in 「Cheongsanbyeolgok」 that the marginalized, who have not lived well in reality, can sympathize with, which is a Buddhist character that can only be understood and accepted by transcending the values of reality. This can be confirmed through the record of Nam Hyo-on's 『Chugang House』. In Choi Chi-won's Chinese poetry, “Cheongsan [Green Mountain] is set as a space-separated from life, and many Buddhist Zen poems consider and embody “Cheongsan” and the sea as sacred spaces. In the 「Cheongsanbyeolgok」, there is a bird flying through the water in Chapter 3 and a deer playing the ‘Haegeum’ on the pole in Chapter 7. The water in Chapter 3 and the pole in Chapter 7 are not the usual spaces for birds or deer. Therefore, the contradiction expressed as a paradox cannot be understood without the premise that it is the transcendence of reality and the subversion of everyday life. In the world of Buddhist Zen poetry, a world caused by contradictions, the transcendence of reality, and the subversion of everyday life is revealed. In Buddhist Zen poetry, a mud ox and a cast-iron ox going into the water (sea) and a crane under the sea appeared, and the tip of the pole serves as a place where enlightenment is attained. It is something that cannot be experienced in the secular realm that the narrator, the subject of the 「Cheongsanbyeolgok」, sees the birds flying through the water and hear the deer playing on the pole. In order for the narrator, the subject of Chapter 3 and Chapter 7 of 「Cheongsanbyeolgok」, to experience the experience of seeing birds flying in the water and hearing deer playing on the pole in the transcendental realm, the distinction between the secular and the sacred must disappear. When the distinction disappears, the narrator intersects with the bird or the deer in the work, and the distinction between the subject and the others becomes blurred. The world of Zen poetry also embodies the thought that breaks down the boundaries between reality and the transcendental world, the conscious and the unconscious. Zen poetry emphasizes that enlightenment can only be achieved by reaching this level. It can be confirmed that the contents of Chapters 3 and 7 of 「Cheongsanbyeolgok」 can be accepted only by understanding the work as a situation that breaks away from everyday notions, breaks the boundary between the subject and the other, and escape from the obsession with the space of the secular and the sacred, just like in the world of Zen poetry. Therefore, Chapters 3 and 7 of 「Cheongsanbyeolgok」 can be said to be a part of the songs reflecting the influence of Buddhist Zen poetry.