秋’이미지와 悲秋정서의 연원 고찰 - 선진시기의 문학을 중심으로

Abstract

This study examined the origin of ‘sad autumn(悲秋)’ literature. Among the images of autumn, ‘sad autumn’ literature focuses on the gloomy image associated with loneliness and sense of grief which dwell in the human minds. Such images create aesthetic quality which is represented in literature as a sad image. ‘Sad autumn’ is one of the ten significant subject matters in Chinese classic literature. Autumn image has changed according to the etymological history of the character, 秋(autumn). From oracle born inscription to gilt lettering, the character 秋 reflected the image of burning a locust with fire hence projecting a factual wornout image. With a writing system called Sojeon, 秋 became a combination of 禾(rice plant) with 火(fire) so that the image of autumn changed into richness in Chin Era. Subsequently autumn was perceived as a romantic season of richness in Han Era based on 『Lexicon of the Origin of Chinese Characters』following ‘Seolmun Haeja.’ Finally, the idea of ‘sad autumn’ became apparent in 『Erya(爾雅)』annotated by Guo Pu(郭璞) in Wei Chin Era. Such changes of the image of autumn were due to the improved economy, change and expansion of the cultural spectrum. The image of 秋 in 『The Book of Odes(詩經)』 and 『Poetry of Chu(楚辭)』 corresponded to the respective feature of the former being plain realistic and the latter splendid emotional. Thus the image of autumn in 『The Book of Odes』 was realistic merely indicating the season and restrictive implying the power of writing. However a sense of belonging was apparent with autumn scenes and emotion of the author who tried to connect difficulties in life with autumn scenes. In Qu Yuan’s 「Li Sao(離騷)」 and 「Nine Pieces(九歌)」, objects including orchid were integrated with sorrowful instances of 秋 he tried to project. Hence his poems additionally offered moral images such as nobleness, integrity and respect. It was related with his subject matters such as patriotic royalty and responsibility of the ruling class. In Song Yu’s 「Nine Arguments(九辯)」, the agony of an unknown scholar was described as lonely autumn scenes, hence resonating with many other common folks. It became the landmark of autumn literature by equating the season autumn with sadness and loneliness and by transforming into aesthetic quality. Implications of the above gradual changes of the idea of ‘sad autumn’ are as follows. Even if the image of ‘sad autumn’ was an archetype, it manifested as a literary genre only after the accumulation of culture and an equally sophisticated author.