중세시기 민족어시가와 한시의 운율 결합 - 일본과 베트남의 사례를 중심으로

Abstract

Japanese renku renga (聯句連歌) and Vietnamese hát nói were poetry genres popular during the Middle Ages that merged stylistic elements, specifically prosodic elements from classical chinese verse (漢詩句) into the native verses. In the context of East Asian literary history, the adoption of prosodic elements (number of syllables, tones, and rhymes) from Chinese poem is a distinctive commonality of these two genres. On the basis of this fact, the present paper aims to examine the manner in which the merging of these native forms and Chinese characteristics took place, the role of Chinese poetry in both indigenous poetry genres, and the characteristics of the literary history of Japan and Vietnam that are respectively reflected in each genre. The findings of this study can be summarized as follows. While Japanese renku renga and Vietnamese hát nói both absorbed Chinese prosodic elements, there is a clear difference between the two in the combination of rhythms across languages, in that in the Chinese–Japanese collaborative verses (漢和聯句) that were part of renku renga, Japanese verses (和句) rhymed with Chinese verses while in hát nói Vietnamese verses (越句) rhymed with a Chinese verse placed in between the two Vietnamese verses. The Chinese verses carried much weight for the unfolding poetic concepts in both poetry genres. Renku renga used associations (聯想) from authentic precedents (典故) of Chinese literature (漢文學) while hát nói focused uniquely on the meaning of Chinese verse (詩意) in the composition of. In both genres, merging Chinese prosodic elements into native poetry appears to have heightened the style (格) of the poem and to have added to the ‘pleasure’of composition and appreciation. The two genres have a particular formality in their combinations of Chinese verses with Japanese verses or Vietnamese verses, and demand a high level of knowledge of Chinese literature to compose and appreciate them; thus, the poets in these genres and their readers were limited to literary people of the upper classes. Also, the two genres appear to have attempted to achieve literature’s function of ‘distinction’ within their respective indigenous poetries. Both Japanese renku renga and Vietnamese hát nói emphasized literature's function of entertainment and fellowship. In particular, Chinese–Japanese collaborative verse (漢和聯句) was an intellectual game.