河西 金麟厚의<岑夫子歌><空同子歌> <次贈梁甥仲明> 연구－1458년 점암촌 퇴거 이후의 자기 형상과 시적 성취－

Abstract

This thesis is to analyze the three classical Chinese poems with heptasyllabic lines that Haseo Kim, In-Hu (1510: the fifth year of Jungjong~1560: the fifteenth year of Myeongjong) wrote in 1548 (the fourth year of Myeongjong) by the time when he started teaching after leaving the public post (against his will) and living in Jeolla-do. It was one of the important momentums of his life. He just experienced the twists and turns of life by being thwarted by his political opponents who had differing political opinions with him and began to study the doctrine of Chu-tzu using the collection of Chu-tzu. During this period, Kim, In-hu used the same rhyming word for his three poems including the Song of Jambuja, Writing a Poem Using the Rhyming Word of the Poem of My Son-in-Law, and the Song of Gongdongja and said in the introduction that these three works were related to one another in terms of meaning. The first poem of the series is the Song of Jambuja (an ash tree). Kim, In-hu named a tree stump Jambuja that he came across and wrote a poem about it. He crystallized its quaint and elegant image, using an old story about people who were slid into a paradise named Do-won to escape the brutal oppression of the Qin dynasty, which was the background of Dohwawonki written by Tao Yuanming of the Qin dynasty. Citing his unexpected meeting with Jambuja, Kim, In-hu developed his idea by uniting and integrating his own situation with Jambuja. He symbolized himself as Jambuja, who had to leave the post due to malicious accusations: ‘He likes drinking. He is incapable and knows nothing of the world.’ His second work named ‘writing a poem using the rhyming word of the poem of my son-in-law, Yang, Jung-Myung’ consists of three poems. The first poem was about the genealogy of a right study since Confucius where he pointed out Zhu Xi as a person who made a synthesis of the study. The second poem was about the maladministration as well as the rise and fall of the Qin dynasty since the fall of the Zhou Dynasty, revealing his idea that the selection and use of appropriate persons for highest position was crucial. By brining up the history of putting wise men in a hole with slanders and false charges, he described his current situation. The third poem once again declared himself succeeding to Confucius, Zhou Dunyi and Cheng Yi, crystalizing the stage of wide understanding that could be gained by studying and practicing small things in a daily life. The Song of Gongdongja, his third work was also about a tree stump he came across like in the Song of Jambuja, which he named ‘Gongdongja.’ As the name indicated the mountain where an immortal godly being lived, it mentioned the vast and wide world of poetry ranging from the ancient times to the three dynasties of Xia, Shang and Zhou and the meeting of Confucius and Lao-tzu in earlier Qin. Then, based on the Taikeukdosul of Zhou Dunyi, a philosopher of the northern Song of China, he said that, in spite of hundreds and thousands of differences, all things were identical beings in their ultimate root because they were originated from ‘one root.’ He first mentioned that Gongdongja enduring the massive time and space since the age of Liao and Shun and himself who was born more than thousand years later were identical beings in terms of their origin, and based on this argument, he imagined the academic realm of Confucius and Lao-tzu who created the legitimate genealogy of Confucianism. During this process, he embodied his sentiment and vision using the works of Zhu Xi including the twenty poems of Jageogamheung[齋居感興], Gwanseoyugam[觀書有感] and Muidoga[武夷櫂歌]. Kim understood the Muidoga of Zhu Xi not as the scenery under the waterfall of nine curves but as a stage of study. He also adopted the other poems of Zhu Xi as a poetic foundation that expressed the direction of knowledge acquisition and practices of one’s lifetime. In this sense, the three poems with heptasyllabic lines have their significance in that Kim, In-Hu, a poet as well as moralist of the mid-Joseon dynasty crystalized the process of recomposing his ideas and daily life in the light of the doctrines of Chu-tzu.