山雲 李亮淵 한시에 나타난 민요정서의 한시적 변용

초록

Yang-yeon Lee (1771-1856), a poet of the late Joseon Dynasty, opened a new horizon for Korean poetry. Sanwoon is undoubtedly an important figure in the history of the Joseon Dynasty. Sanun's poems are directly or indirectly influenced by folk songs. His folk song poems are mainly arranged in 『Sanunjip(山雲集)』 and ‘Gyeonheungryu(遣興類)’, showing Sanun’s high interest in and understanding of folk song style Han poetry. However, Sanun's folk song-style Chinese poetry has not been fully discussed, and is only briefly mentioned as one of the characteristics of his poetic world. First, formally, two aspects were examined: the ‘problem of the poetic speaker’ and the ‘destruction of the form of near-temporal poetry’. In ‘The Poetic Speaker’s Problem’, the dialogue, acceptance of female speakers, and the use of the third person perspective stood out. In dialogue, monologues are mainly used. In some cases, a listener was set, but in some cases, a special listener was not set. The female narrator was also impressive. In his poems, the feminist appears not as a sexual object but as a personality subject. The female narrator was mainly included in the voices of the wife and daughter-in-law. In addition, an objective distance from the subject is secured by using a third-person view. Next, the ‘destruction of the form of close-up poetry’ was examined with a focus on the taboos of Chinese poetry. There were many works that deviated from the rules of close-up poetry. This can be seen as a kind of expression means to effectively convey the spirit of folk songs. Depending on how this point is evaluated, the status of Sanun City may change. This is because these poems can be seen as a new realization of Joseon-style Korean poetry, but they can also be viewed as relaxation and collapse of traditional Korean poetry. In terms of content, ‘expression of temperance and sincerity’ was examined. ‘The Appearance of Temperance and Genuineness’ deals with the creation of a new escape poem and the emotional correspondence with folk songs. Sanun's escape poem is quite different from the existing escape poem, showing the characteristics of Sanun's city well. Sanun's folk song-style Korean poetry usually embraces folk-song sentiments rather than recording folk songs as they are. There are not many numbers left in the Han poems of San Yun. However, it shows the aesthetics of Chinese poetry that other Chinese poetry writers cannot show. Sanwoon may not be the best writer of poetic achievements of traditional Chinese poetry, but he deserves to be selected as the writer who best embodies Joseon-style Korean poetry. He is succeeding in embodying the landscape, wounds, and beauty of Joseon in one poem with the voice of Joseon.

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