中國詩學視野下的韓國漢詩取徑論 — 以韓國詩話爲中心

Abstract

The poetic approaches in Korean classical poetry can be broadly divided into two major periods based on the “Byeongja Horan” (Manchu Invasion of Korea). The earlier period experienced two significant transitions: one during the Goryeo Dynasty under King Munjong, transitioning from Tang to Song poetry, and another during the Joseon Dynasty under King Seonjo, transitioning from Song to Tang poetry. The first transition was influenced by Chinese poetics and represented a natural evolution in the history of poetics, while the second was a sudden change influenced by the two streams of Tang poetry (mainstream and tributary) within the internal and external poetic environments. During the periods when Song poetry was prevalent in Goryeo and Joseon, the two streams of Tang poetry did not disappear but continued to develop alongside Song poetics, representing the internal environment. The external environment was influenced by the “Tang Revival” trend in Yuan and Ming poetics, which was transmitted to Joseon through poetic and diplomatic exchanges, stimulating the Tang poetry style of the time. After the “Byeongja Horan,” the concept of “revering Tang and rejecting Song” persisted for a while. However, with the reflection on Ming poetics, people began to realize the biases of both Song and Ming poetics. Under the demand for poetic individualization, critics argued that learning Tang poetry in the Ming style was inferior to the Song style, leading to a breakthrough in poetic concepts. Following the development of the “Shenyun” (spiritual resonance) theory in Qing poetics, Joseon poetics also began to break through the limitations of schools, styles, and aesthetics, advocating for works with unique individuality, contemporary characteristics, and national traits. Therefore, a comprehensive view of the history of Korean classical poetry shows that the objects of poetic approaches varied with different poetic trends, with Du Fu’s poetry being a common model across different eras. The “Entering Du” ways in Korean poetics can be categorized into three types: sequential, reverse, and lateral. These three ways correspond to the major transitions in the history of Korean classical poetics. The sequential way, led by those transitioning from Song to Tang, emphasizes “Tang Rhyme”; the reverse way, led by those transitioning from Tang to Song, emphasizes “Song Style”; and the lateral way, focusing on loyalty and patriotism, represents cultural self-respect and redemption during times of great historical change. From the above discussion, it can be seen that the poetic approaches in Korean classical poetry have characteristics such as variability, diversity, dependency, and autonomy.