장기(長鬐) 유배기 다산(茶山) 시의 향방(向方)과 성격

Abstract

Dasan Jeong Yak‐yong was involved in the Shinyu‐Saok in 1801 and lived an exile life for 220 days in Janggi, Gyeongsang‐do province. In that the Janggi exile, which was practically the first exile for him, became an inflection point in Dasan's life, it is necessary and important to understand the whole Dasan poetry to investigate the direction and character of Dasan’s poems during this period. Dasan left 160 works of poems in 60 themes during the three seasons of his stay at Janggi, and he wrote more poems from the introverted (向內的) perspective about his issues called exiles than poems from the extroverted (向外的) perspective, which contained concerns about the difficulties of folks and experiences of the new environment. Dasan, who was in involuntary isolation, continued to reveal his longing and nostalgia, woe and lament through his poems, and in particular, he characteristically showed the sentiments of retrospection and reminiscing about the days of King Jeongjo and Hanyang. The exile was an opportunity to get a closer look at the life of folks, but the concern and agony for folks’ life is more euphemistic than expected in Dasan's poems from this period. Although it is confirmed that folks’ lives have become more realistic than before his exile, but at this time, Dasan's awareness of the difficulties of the folks was no greater than his concerns about his own current situation. While at Janggi, Dasan was preoccupied with his issues amid the shock of his exile. The folks' life became more realistic than before, but it was difficult for him to express an active and critical interest in the world in his poems. For Dasan, a statesman and critical intellectual, the impact of exile was just as great. Even before the shock could be alleviated, Dasan was summoned to Seoul and exiled back to Gangjin. The practical and realistic experience of the folks' life inherited internally through the Janggi period was embodied as a critical awakening through the Gangjin exile period afterwards and appeared as realistic critical poems.