이용휴(李用休) 한시의 율격(律格) 해체와 신율(新律) 모색 -형식적 파격의 미학(美學)을 중심으로

초록

This study offers an in-depth analysis of the patterns of prosodic deconstruction and the pursuit of a new rhythm (shin-yul, 新律) in the Hansi (Chinese-style verse) of Hyehwan Lee Yong-hyu (李用休), one of the most avant-garde poets of eighteenth-century Joseon. Moving beyond previous scholarship that has largely emphasized thematic transgression—such as social satire or the inclusion of everyday life—this paper argues that Lee’s innovation lies in his deliberate and systematic dismantling of prosodic conventions to construct an entirely new poetics. The analysis is organized around four core components of regulated verse (geunche-si, 近體詩): Pyeongcheuk (平仄, tonal alternation), Seongryul (聲律, phonological rhythm), Amun (押韻, rhyme scheme), and Daejang (對仗, syntactic parallelism). First, regarding tonal structure, the study classifies Lee’s intentional violations of prosodic regularity—including the use of Samcheukjo (三仄調) and Sampyeongjo (三平調)—and analyzes the resulting imbalance in tone and cadence between couplets and colloquial phrasing. Second, in terms of phonological rhythm, it reveals a pronounced tendency toward prosaization (sanmunhwa, 散文化), as seen in his frequent use of grammatical particles and function words at line-initial positions, the insertion of conjunctions and adverbs, and the formation of prose-like rhythmic syntax. Furthermore, the paper investigates Lee’s experimental departures from traditional rhyme and parallelism. He actively employed Bang-un (傍韻, approximate or adjacent rhyme) and Ak-un (惡韻, dissonant rhyme) to subvert the rigid rhyme categories of classical verse, and experimented with Gyeokgudae (隔句對, alternate-line parallelism) and non-isometric structures to dismantle the symmetry of conventional Daejang. These findings demonstrate that Lee Yong-hyu’s practice was not mere formal destruction but a calculated aesthetic strategy—an attempt to dissolve the rigid formalism of regulated verse in order to maximize logical coherence and narrative expressivity. His deconstruction of form thus represents a masterful aesthetic decision aimed at creating a distinctly Joseon-specific rhythm, or shin-yul (新律), transcending the normative constraints of Chinese poetic prosody. Ultimately, his “prosaic Hansi” redefined the possibilities of poetic rhythm in late Joseon literature, offering a new framework for understanding the experimental poetics and formal innovations of eighteenth-century Korean poetry.

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