俛宇 郭鍾錫의 한시 연구-國土山河 遊覽 紀行 한시를 중심으로-

Abstract

This study attempted to examine the actual characteristics of poet Kwak Jong-seok who enjoyed creating Chinese poems and left various poetic styles as a well-versed scholar of Chinese literature even during the decline of Chinese literature at the late period of Joseon. The discussion proceeded by paying attention to the fact that the most important motive for Kwak Jong-seok’s creation of Chinese poems to form a large number of works was “Sansuyuramgihaeng”. His Chinese poems inherit the tradition and vein of Dohaksi (道學詩) through the journey to the mountains and waters of the country in the Korean history of Chinese poems and are in line with the Dohaksi (道學詩) of Toegye (退溪) and Nammyeong (南冥) influenced by Juhee (退溪), too, while distinguished poetic aspects are found in Myeonwoo Kwak Jong-seok uniquely as well. Accordingly, this author examined closely the motivation, timing, purpose, and paths of his journey to the country and considered the characteristics and meanings of Chinese poems created in the journey to the mountains and waters through the followings: 1) reflecting through nature and succeeding to Dohaksi, 2) recalling the history and recording local customs at historical sites, and 3) feeling anxious about the country and being refreshed through penance. Moreover, this study arranges the works and aesthetic characteristics that are noticeable in Myeonwoo’s Chinese poems as follows. 1) Myeonwoo created a vast amount of poetry works written in Chinese reaching up to 2,000 or so pieces, and it is not just about the quantity, but he created the works exclusively adopting all sorts of styles of Chinese poetry. It was intended to adhere to the traditional style of Chinese poetry. 2) Myeonwoo enjoyed writing full-length Goshi and Akbu (樂府) Gahangche (歌行體). 3) In terms of the methods to create poetry, Myeonwoo left Yeongusi (聯句詩), Bununsi (分韻詩), and a number of serial poems (連作詩). 4) Myeonwoo’s Chinese poetry inherits Korean-style Palgyeongsi (八景詩), and this can help create new contents by excavating scenic spots from particular regions of the time. 5) Myeonwoo wrote Huijaksi (戲作詩) that were made for fun by taking miscellaneous subjects in everyday life, and in relation to the history of living culture of the time, we can get various information about all sorts of stuff. The poems of Myeonwoo who lived in the country all his life and used what was happening in his everyday life plainly as the subjects of poetry took on ordinariness rather than complexity to describe the country life in simple and plain ways. This can also be said to be a great achievement of Myeonwoo’s Chinese poetry. 6) Myeonwoo who was keenly interested in Bonchohak also adopted it in his Chinese poetry and left Yakmyeongche (藥名體) that can be called as Japchesi. 7) Myeonwoo left high-quality Geumeonchesi (禽言體詩) borrowing bird sounds for humorous satire. Although Myeonwoo’s Chinese poetry is more like Dohaksi in terms of its overall mental orientation and poetic achievements, Myeonwoo accepted various types of poetry diversely to create works positively and actively. Considering these points, we can say that Myeonwoo is a wide-ranging poet who is not devoted only to the Dohaksi of Songsi (宋詩). It is expected that the diverse trends and aesthetic characteristics of Myeonwoo’s Chinese poetry will be revealed afterwards so that his literary status can be properly evaluated and established in the history of Chinese poetry leading to the Japanese colonial era at the end of Joseon.