李德懋의 神韻論 受容과 漢詩의 文藝美

Abstract

This study has been performed to esthetical aspects of reformed type of rhythmical and temporal atmosphere among Lee Duk Moo's poetry. In this study, Wang-Sa-Chung's basic concepts of reformed types of musical elements have been investigated, and it was further reviewed among Lee's compositions how Lee perceived Wang's concepts and transformed them into a remodeled fashion of rhythmical and musical themes. In Wang's poetry, condensed semantics of poetic flows had been highlighted in meta morphological ways of picturesque images, and in the early 1770s, absorbed into the Wang' poetic arena, Lee concentrated on developing a new way of rhythmical and temporal atmosphere styles. Although pursuing reformed musical elements beyond materialized reality world, Lee's poetry also maintains ordinary people's emotional and theological sphere of Buddhism, Confucianism, and Spirituality-Pray beliefs. In other words, Lee's poetic worlds are ambivalent in that his pieces follow super reality musical themes but at the same time stay within realty of people's cultural and traditional lives. In addition, this study reveals narrative skills and humane aspects of Lee's poems; he wrote precisely visualized and scenic phenomenon of the society. This indicates that while Lee pursued reformed musical elements of Wang's style, he also developed his own picturesque world and therefore elaborated somewhat delicate narration of his own. But finally, it is also observed that Lee's reformed musical elements diminish around 1778 right after his trip to China; it is because new Ching Chines Dynasty saw new poet generation, expression method, and societal Renaissance of scientific world, and his official position in Korea made him stay within Korean high class moral standards of realistic narration, far from meta morphological esthetics.