吃窩 李根玉의 생애와 시문학 고찰

Abstract

This text examines the life and literary development of the Han poetry of Heulwa (吃窩) Lee Geun-ok(李根玉, 1824-1909). He was born in Segan-ri, Yugok-myeon, Uiryeong-gun, Gyeongsangnam-do. Known from an early age as a “precocious child(早達兒)”, he studied under his grandfather, Lee Yong-gyu(李龍奎), and inherited his family’s academic tradition. Later, he studied under Yoo Chi-myeong(柳致明) and Heo Jeon(許傳), and through interactions with their literary disciples, he formed master-student (師承) and friendly relationships within the Namin(南人) faction. This aligns with the trend in the Gyeongsang Right Province(慶尙右道) of transitioning from the Namin or Noron(老論) factions, which had historically been rooted in Nammyung studies(南冥學) after the Injo Coup(仁祖反正, 1623) and the Musin Rebellion(戊申亂, 1728). To contribute to his community, Lee built the Jondeokjae (尊德齋) and organized lectures (講會) to preserve the remains and heritage of esteemed historical figures that had been destroyed under the decree to abolish Seowon (Confucian academies). At the age of 51, he passed the Saengwon Examination(生員試) and became a student at the Sungkyunkwan Academy(成均生員). However, he returned home due to the death of his father. Following this, he chose a life of seclusion and, in his later years, built Gwacheonjeong(過川亭) in Hwayudong(花柳洞), embodying the ideals of pursuing virtue, adhering to the aspirations of the great Confucian scholar Jeong Ho(程顥), and finding meaning in living modestly and peacefully in harmony with nature. Due to the effects of the Donghak Peasant Revolution, he moved to Dugok(杜谷) in Jijeong-myeon, Uiryeong, at the age of 72, where he lived until his death at the age of 86. Lee Geun-ok left behind 159 poems across 111 titles. His works reveal his profound and solitary consciousness, especially in poetic genres such as scenery poems(景物詩), travel poems(遊覽詩), and descriptive poems of extraordinary objects(詠物詩), which reflect authenticity derived from his personal experiences. The themes in his poetry manifest in three ways: the cultivation of virtue and observation of natural principles through the Ten Scenic Views of Hwayudong(花柳洞十景), the joy of exploring historical sites and reflecting on humanity and society(看人看世), and the symbolism of shared purity(共潔) as depicted in the lotus flower. Consequently, Lee’s poetic literature stands out for its reflection of his secluded life and the Neo-Confucian philosophical insights he expressed as a scholar.