삼연 김창흡의 금강산 유람시 연구

Abstract

This study aims to identify the core nature of Mt. Kŭmgang poems by Sam-yŏn Kim Ch'anghŭp as ‘travel poetry’ or ‘landscape poetry’ by examining their writing aspect over time and the ways in which they represent travel experience. Analyzing Sam-yŏn's Mt. Kŭmgang poems is an important step toward understanding the overall character of Sam-yŏn's landscape poetry and, by extension, the flow of landscape poetry creation in the late Chosŏn Dynasty. To achieve these goals, certain basic concepts and categories of ‘landscape poetry’ must be defined. In other words, landscape poetry is a poem that describes landscapes since the origin of Xie Lingyun. It refers to works created in the context of traveling, and only works of this nature should be the subject of the discussion of landscape poetry among the poems of Sam-yŏn. Based on the above premise, this study examines Sam-yŏn's Mt. Kŭmgang poems over time. Subsequently, it examines how the basic components of landscape poetry – ‘record of travel,’ ‘description of the landscape,’ and ‘expression of emotion’ –are utilized in the representation of the travel experience. Sam-yŏn's Mt. Kŭmgang poems are divided into two parts: poems from his third trip in 1685 and poems from his fourth and fifth trips in 1710 and 1711. The 24 poems of the 16 titles of the third travel were all composed in the form of old poetry, and most were longer than 20 lines. Through this long-form old poetry, the author aims to expand the scope of describing landscape and sufficiently depict the pleasures of traveling with a strong spirit. Meanwhile, the poems of the fourth and fifth travels were all written in Lushi format and had a more refined aesthetic. Throughout his work in his early thirties and late fifties, Sam-yŏn's primary creative intention in his Mt. Kŭmgang poetry was to represent the authenticity of the object and the poetic self's accompanying pleasure in it. However, some poems from the fourth and fifth travels are centered on the poetic self's expression of deep regret, such as works that recount the woes of old age. Next, I examined how the Mt. Kŭmgang travel experience is shaped in Sam-yŏn's poems in two aspects. The first is the active utilization of records of travel to enhance dynamics and pleasure. There is also an emphasis on the experience and pleasure of the “I” throughout the entire period. This makes Sam-yŏn's poems not ‘picturesque’ but poems that ‘enter into the picture,’ poems that allow readers to ‘experience’ the pleasure of traveling Mt. Kŭmgang. The second characteristic concerns describing landscape and expressing emotions in relation to vivid representations of objects. Sam-yŏn's Mt. Kŭmgang poetry focuses on describing the mood of an object while being emotionally attached to it. The poetic self is “enjoying” the object rather than “observing” it, which naturally imbues the description of scenery with pleasure and emotion. Regarding depicting scenic objects, Sam-yŏn prefers to focus on the atmosphere and mood of the scenery rather than on the details of the object. In addition, the poetic self's emotions, expressed in the course of or as a result of describing the landscape, are emotional responses to the scenery that serve to bring out the characteristics of the object being described more vividly. In short, Sam-yŏn's Mt. Kŭmgang poems focus on conveying the pleasures of travel through the depiction of mountain scenery. In Sam-yŏn's poetry, the realistic representation of the object includes the form of the object and the expression of pleasure and emotion that the object evokes. Sam-yŏn's Mt. Kŭmgang poem is a main part of Sam-yŏn's landscape poetry, and a study of it can highlight the fundamental characteristics of Sam-yŏn's landscape poetry. It is necessary to prepare a more valid view of Sam-yŏn's landscape poetry as a whole through a comparative review of Sam-yŏn's works that meet the conditions of ‘landscape poetry.’ This will ultimately lead to a discussion of the direction of late Chosŏn landscape poetry and landscape literature.