『匪懈堂四十八詠』隱逸意象“歸”意味研究

Abstract

The “Forty-eight Odes of Feixie Hall”, advocated by Lee Ryeong, the third son of Sejong Daewang of the Joseon Dynasty and the Prince of Anping, played a pivotal role in the poetry activities he initiated. This collection serves as a connecting link between the preceding and the following, laying the groundwork for King Seongjong of Joseon, Lee Hyuk, to continue the tradition by commissioning scholars to create the “Sequel to the Forty-eight Odes of Feixie Hall”. It also marked the prelude to the Joseon Dynasty’s reverence for the tradition of admiring Tao yuanming, encapsulating the complex of official reclusion tendencies and the literary themes of landscapes and pastoral life. The paper is the first, both domestically and internationally, to systematically analyze the reclusive imagery in the “Forty-eight Odes of Feixie Hall” and to explore its poetic connotations and the theme of “return”. The reclusive imagery often intertwines with classical allusions, forming established symbols of reclusion. Poetically, these symbols reflect the noble integrity of a gentleman, his delight in simple pleasures like resting on stones and washing in streams, and his commitment to preserving moral righteousness. The theme of “return” not only illustrates the tension between official duty and reclusion under the “admiring Tao yuanming” tradition, presenting a dilemma of “unable to serve fully, yet unable to fully retreat”, but also seeks psychological compensation and balance, manifesting as a rebellious departure and a harmonious return.