중용(中庸)의 선비 양실추(梁實秋)의 황혼의 로맨스 연구
A Study on the romance of a classical scholar Liang Shiqiu in his twilight years
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양실추는 중국의 신문화운동과 신문학에 대하여 줄곧 비판적인 입장을 견지해왔던 문인이다. 그는 중국의 신문학을 낭만주의문학이라고 규정하였는데, 여기에는 불필요한 감정의 낭비라는 부정적인 의미가 내포되어 있다. 그는 신문학의 낭만주의적 폐단을 극복하기 위하여 건강하고 존엄한 인성을 표방하였다. 즉 이성의 힘으로 감정의 낭비를 절제하고 우아하고 품격 있는 문학을 구현하자는 주장인 것인데, 이는 그의 문학 생애의 사상적 배경이 되었던 신인문주의에서 비롯된 것이다. 양실추가 혼자만의 힘으로 셰익스피어 전집을 번역하고 유머러스한 신사의 풍격이 느껴지는『아사소품(雅舍小品)』등을 창작한 것은 건강하고 존엄한 문학 구현의 실천적 표현이라 할 수 있다. 이처럼 평생토록 내면의 수양과 절제, 문학을 통한 이성의 확립을 추구하였던 양실추는 뜻밖에도 노년에 낭만주의의 파도에 휩쓸리게 된다. 청년시절부터 동고동락하였던 부인이 사망한 후 우연히 알게 된 가수 출신의 젊은 여성 한청청(韓菁淸)과 불같은 사랑에 빠진 양실추는 71세의 나이에 그녀와 재혼을 하여 1987년 사망 시까지 약 13년간 부부의 정을 나누며 살았다. 낭만적 정서가 넘쳐흐르는 양실추의 한청청에 대한 연서의 내용을 살펴보노라면 그 역시 그가 비판하고 부정하였던 신문학 문인들과 다를 바 없는 낭만주의자라고 판단할 수밖에 없다. 신문학의 거대한 주류의 물결을 거부하고 또 다른 신문학의 질서를 확립하고자 한 양실추의 문학적 노력은 그 자체가 이상주의적이며 낭만주의적인 것이라 할 수 있다. 바로 이와 같은 낭만주의적 성품이 생활 속에서 표현된 사건이 한청청과의 노년의 사랑이라고 평가할 수 있다.
Abstract
Liang Shiqiu was an outright critic of the New Culture Movement and the New Literature, which, in his opinion, were superfluously emotional and romantic. To alleviate the adverse effects caused by these movements and reach a balance between intellect and emotion, he engaged in literary activities such as translating complete works of Shakespeare and creating Yashe Xiaopin. Ironically, six months after the death of his loyal wife, the 71-year-old literary giant who had dedicated his whole life to opposing romance and emphasizing moral values fell in love with a singer named Han Jinqing, who was twenty eight years junior to him. Liang Shiqiu remarried after a year of being romantically involved with Han Jingqing, even though he was continuously discouraged to do so. Such passionate emotion was demonstrated in his love letters to Han Jingqing that it is almost difficult to distinguish between Liang Shiqiu’s writing and those of the writers of the New Literature. Though Liang fervently denounced the New Literature, which was adapted from American Neo-Humanism and soon brought to the mainstream of Chinese literature in the 1920s, and tried to establish a restrained and wholesome cultural atmosphere, he innately possessed a romantic personality. However, unlike more ostentatious forms of romance illustrated by his contemporaries, Liang’s romance sought to overcome an era of revolutionary romanticism and construct a new order through the voice of minorities in the literary world. The wholesomeness of his romance served as the basis of his literary achievements as well as the source of his passion, which led to ardent love that added another dimension to his work and life.
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