호남 지역 구곡시가(九曲詩歌)의 분포와 전개 양상

Abstract

In this paper, the distribution and characteristics of the poetry on nine bends(gugok poetry, 九曲詩歌) in Jeolla-do Province (Homam region) was overviewed and examined based on some major cases. In the late 16th century, the early phenomenon of gugok poetry in the Honam region could be observed through Jeong Huimaeng’s Yongsansansugugokga(龍山山水九曲歌). Jeong who lived all his life in Yeonggwang, his hometown, set gugok in the Bulgapcheon area in his later years, enjoyed a poetry party, and wrote 10 gugok poems. Above all, it is noteworthy that the period of writing the work is adjacent to the period of Gosangugokga(高山九曲歌). Jeong had a certain degree of friendship with Lee Yi, and the early works of gugok poetry were composed in Honam and Giho at about the same time. However, it seems that the precedent of Jeong did not continue after that. It was not until the 18th century that gugok poetry gradually spread in the Honam region, and the work written around this time was Yuk Hongjin’s Munamuimuidoga(文嚴依武夷櫂歌). He spent most of his life in Okcheon, his hometown, without advancing to government office. At the same time, he himself wrote gugok poems to inherit the tradition of creation of gugok poems from Zhu Xi to Lee Yi and Song Siyeol. Considering that Yuk was originally based in the Giho area and that Muju is also geographically connected to Hoseo, it is understood that Munamgugok is the result of the gugok culture of Giho Province expanding to the border of Honam. It was the 19th century when gugok culture was fully established in Honam. In this period, not only are cases of setting gugok more frequently found than in the previous period, but also the tendency for the range of gugok to become more compact is detected. For example, there is a case where a plurality of ‘gugok’s are set at similar times in the same region. Yu Hoseok and Park Jung-eon, whose life and death dates overlap by about ten years, set Deokrim Gugok(德林九曲) and Hakgye Gugok(鶴溪九曲) respectively in the same Goheung area and wrote 10 gugok poems. Previously, Jeong and Yuk also did not go to government posts, but they clearly had self-consciousness as Confucian scholars and included pavilions and lecture halls when setting gugok. In contrast, Yu and Park clearly have the status of rural nobles, and their views on gugok are also focused on revealing the natural scenery in more detail. This is because Gugok was set up in his familiar living space, rather than specializing in a separate space for reading and lectures. On the other hand, entering the end of the 19th century, a new trend appears in gugok poetry in the Honam region. When Ki Uman built Samsanjae in Jangseong and wrote Samsangugoksi(三山九曲詩), poems imitating this work appeared one after another. Since Ki was a representative Confucian scholar in Honam who led the Nosa school(蘆沙學派), a culture was formed in which his students imitated Samsangugoksi. Although it is belated in terms of timing, the status equivalent to Lee Yi’s Gosan Gugok and Lee Hwang’s Dosan Gugok can be found in Ki’s Samsan Gugok in the Honam region. In the next period, the early 20th century, cases of putting public opinion of the times beyond personal meaning into gugok. Maigugok(馬耳九曲), set in the Maisan area of ​​Jinan, is one such example. Lee Dobok’s Isangugokga(駬山九曲歌) draws more attention because it was exceptionally produced in Korean vernacular. Lee was born in Sancheong and has no connection to Jinan, but when Isanjeongsa(駬山精舍), which enshrines his teachers Song Byeongseon and Choi Ikhyeon, was completed in Maisan, he set up a gugok around the building and wrote Isan Gugokga. This work focused on capturing contemporary issues and resentments during the Japanese colonial period rather than personal feelings, and even when dealing with natural scenery, anecdotes of the founding of the dynasty related to the space and historical sites of patriots were highlighted. The purpose of Isangugokga had already been resonated with from the time, and a follow-up work was produced. Heo Myeongryeol, who was in charge of Yongdam Hyanggyo Confucian School, composed Isangugoksi(駬山九曲詩) after attending the spring ritual of Isanjeongsa right after liberation. He used the gugok of Isangugokga as it was, but looked at the Isangugok from a more objective point of view. In addition, while Lee chose Korean vernacular to express his thoughts more freely at each site, Heo, who took the style of authentic Chinese poetry, used more restrained expressions.