三魁堂 申從濩 漢詩의 風流的 면모 －艶情詩를 중심으로－

Abstract

This piece of writing looked into the motive of creative writing targeting Yeomjungsi (Love Poem) by Samgoedang Shin, Jong-ho who was an official-literary person in the 15th century, considered the popular nature and beauty of literary art that are exposed in the embodiment of a voluptuous woman. Through this, this writing is intending to organize aesthetic characteristics and limitations of a popular love poem which was deviant from a legitimate Chinese poem or whose value was denigrated. It has been brought to this author’s attention that the love poem written by Shin, Jong-ho represents the 15th century official-literary writers’ carefree, flexible traits and diversity which crossed the borderline between something lofty and something vulgar. To the Literati Society, a feeling of love, indulgence in a woman’s body and sex expression weren’t free in general, but there still remain a large number of love poems in Shin, Jong-ho’s collection of literary works. First, Shin, Jong-ho’s love poems stand out as writing-for-amusement-based tendency full of mischief against a backdrop of deviant amusement with his friends, to whom Shin, Jong-ho was free and open. Hereupon, every single aspect of attachment of seeking beauty while enjoying the taste for burning love was linked to creative work of love poems, and seen are the vestiges of pursuing the beauty of literary art distinct from formal literary activities as an official. Second, Shin, Jong-ho’s love poems connotes delicate beauty of literary art by describing a sensual woman’s beauty through hairstyle and tire. They have an important symbolic meaning in relation to a woman’s chastity, and a male poet’s eyes are expressed metaphorically together with his instinctual drive. In addition, Shin, Jong-ho renders a voluptuous woman’s vulgar taste connotatively by describing a women’s various small articles placed in the love space and bedroom. The subtle beauty of literary art of gorgeous and lovely things expressed through love poems makes us paradoxically look back on the writer’s feelings which are opposite to it. Generally, a love poem shows a typical aspect where small articles in women’s quarters and a woman’s accessories frequently appear in the application and choice of poetic words. Basically, such materials connote a man’s snobbish affection and attribute of indulgence for a woman. The poetic words and ancient events used in love poems are formed around stereotyped languages and techniques in comparison with diverse aspects and expression techniques of orthodox Chinese poems. Nevertheless, they connote a rich aesthetic feeling by spreading out a free human’s feelings open-mindedly away from tension and exactness of a daily routine by virtue of pleasure and a vein of humor. In addition, the expression of romance and a woman as the gentry(Sadaebu) has the dual implication mostly by a medium of ‘flower.’Ambiguity brought by such pleasure and dual implication could be judged as an important part that takes a snobbish man’s love to one step higher level of the aesthetic poetic world in a literary sense.