정몽주의 사행시 연구

Abstract

Po‒eun began writing poems inspired by the foreign landscapes he encountered on his diplomatic envoy journeys, and wrote many well‒developed poems. Po‒eun’s envoy poems were published as collections and widely read and critiqued by other poets. Subsequently, other envoys of late Goryo and early Joseon began writing poems using similar titles, poetic images, and modes on their own journeys, and succeeded Po-eun’s work in the form of replying to his poems in the same rhyme, and also intentionally borrowing and transforming them. Po‒eun’s envoy poetry was widely enjoyed and circulated through personal networks, rather than remaining a sporadic and local product. Most of Po‒eun’s poems that are considered to have realized the Guisil(紀實) writing technique were produced during his envoy to Japan. They are characterized by synaesthetic imagery in ordinary expression, while realistically describing foreign landscapes. Po‒eun also created unique senses by capturing the most unusual and different scenes among Japanese culture and customs in his poems through Gwanpungchalsok(觀風察俗). His works greatly influenced the poems written in Joseon related to Japan in terms of poetic imagery and language, as Joseon poets continued to read his works and apply his Guisil writing technique. Po‒eun wrote several poems in a masculine style, and the poetic language and expressions he developed in his envoy poetry were widely utilized and applied by Joseon writers, who attempted to embody Po‒eun’s poetic phrases in detail and appropriate his poetic materials in their own works. Po‒eun’s envoy poems were broadly read by Joseon writers and utilized as a source of poetic inspiration and learning.