“满城风雨近重阳”句在韩国的接受研究

Abstract

Lee Inro, a famous poet of the Goryeo Dynasty, in the first Poetry in Korean history, Pahanjip recounted the poem “Mancheng Fengyu Jin Chongyang” and related stories in the Lengzhai Yehua by Huihong of the Song Dynasty in China. Lee Inro also took this poem as the first sentence of the poem, and composed a seven-character quatrain poem. Since then, ancient Korean poets have begun a literary acceptance process using this poem as a material for poetry creation. In the Joseon Dynasty, due to the influence of Su Shi, Huang Tingjian and the Jiangxi Poetry School of China, more and more Korean poets used “Mancheng…” for poetry creation. There are two main types of textual expressions of this type of poetry: one type is to put the entire sentence into the newly created poem, the position of the whole sentence can be at the title, the first sentence, the middle sentence or the last sentence; the other type it uses the seven characters in the poem or a few of them as the rhyme of the newly created poem. This type of poems inherited the imagery of the “Mancheng…” and Xie Wuyi's poems, but they also have their own innovations. Among them, the image of chrysanthemum has expanded from the original representative plant that expresses solar terms to show Tao Yuanming's chrysanthemum and Tao Yuanming's life pursuit, showing more life insights. This kind of mourning poems written by ancient Korean poets, on the one hand, they often use prefaces or notes to reinforce the image of mourning，on the other hand they often use the method of expressing their confession and express their feelings of mourning and sadness without concealment. In the pursuit of aesthetics, this type of poem showed a “sorrowful and sad” aesthetic style as a whole. This became the motivation and purpose of the “Mancheng…” being accepted by ancient Korean poets, and it was also the purpose of Korean poets to do this aesthetic guidelines for the creation of similar poems.