정치 교화로 읽는 중국 시학 - 주쯔칭의 시언지변 -
Reading Chinese Poetics Through Political Didacticism: Zhu Ziqing’s Dialectic on Poetry Articulates Intent (詩言志辨)
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초록
주쯔칭은 유가의 정치 교화를 중심으로 ‘시는 뜻을 말한 것’, ‘비와 흥’, ‘정과 변’ 등 중국문학비평사 핵심 개념의 역사를 서술했다. 각 개념의 본래 의미와 관련 용어의 차이를 변별하고 근원과 말류를 정리하면서 방대한 자료를 섭렵한 것이 특징이다. ‘시는 뜻을 말한 것’에서 ‘뜻’은 풍자와 칭송 등의 정치 교화와 밀접한 관계가 있다. 시와 음악은 원래 결합해 있다가 춘추시대 주 왕실의 봉건제가 쇠퇴하면서 분리되었다. 그러자 시를 지은 이의 ‘뜻’ 해석이 중시되었다. 이때 공자의 ‘생각에 사악함이 없다’가 시경 의미 해석의 기조를 이뤘다. 주쯔칭은 시의 ‘뜻’과 감정, 도를 엄격히 구분한다. 위진남북조 때 시인이 자신의 감정을오언시로 나타내는 경향이 강해지면서 ‘시는 감정을 풀어내어 아름답다’라는 새로운 개념이 나타난다. 이 감정은 정치 교화와 무관하므로 ‘뜻’과 다르다. 송대 신유학이 발전하면서‘뜻’이 인간 됨됨이를 가리키는 용례가 나오는데 이는 엄밀히 말하면 마음 수양의 도(道)이므로 역시 정치 교화와는 무관하다. 청대에 들어 개인과 개성에 주목하여 ‘뜻’이 남녀 사랑의 감정 등을 포괄했다. 주쯔칭은 이것이 현대 서양의 서정시와 더 가깝다고 보았다.
Abstract
Zhu Ziqing narrates the history of key concepts in Chinese literary criticism—such as “Poetry articulates intent,” “bi(比) and xing(興),” and “constancy and change”—with a focus on Confucian political didacticism. His work is distinguished by its extensive engagement with primary sources and his careful differentiation between original meanings and related terms, tracing each concept from its origin to its later developments. In the concept of “Poetry articulates intent,” the term “intent” is closely tied to political functions such as satire and praise. Poetry and music were originally integrated, but as the feudal system of the Zhou royal court declined during the Spring and Autumn period, they became separated. This led to increased emphasis on interpreting the poet’s “intent.” Confucius’s assertion that “Having no depraved thoughts(思無邪)” became a foundational principle in interpreting the Book of Songs (Shijing). Zhu Ziqing rigorously distinguishes between poetic “intent,” emotion, and moral principle. During the Wei, Jin, and Northern and Southern Dynasties, poets increasingly expressed personal emotions through five-character verse, giving rise to the notion that “Poetry arises from emotion, and it is ornate. (詩緣情而綺靡)” Since such emotion is unrelated to political didacticism, it differs from “intent.” With the rise of Neo-Confucianism in the Song dynasty, “intent” came to refer to moral character in some cases, which is more accurately understood as a path of self-cultivation and thus also unrelated to political instruction. In the Qing dynasty, attention shifted to individuality and personal expression, and “intent” came to encompass emotions such as romantic love. Zhu Ziqing viewed this as closer to modern Western lyric poetry. Bi and xing were regarded during the Han dynasty as techniques for subtly conveying political praise or criticism in the Book of Songs. These concepts, influenced by the separation of poetry and music, Confucian taking a phrase out of context(斷章取義), and the idea that “Having no depraved thoughts,” became distorted through subjective and arbitrary interpretations. In particular, xing was transformed under the influence of Wei-Jin metaphysics(玄學) and Chan Buddhism into a technique for artistic creation unrelated to political didacticism.