蘆溪詩歌의 特質에 관한 硏究

Abstract

蘆溪는 朝鮮 三大歌人에 속하는 대가다. 시조와 가사에서 양적으로 우세하고 작품내용으로도 一家의 작풍을 이루고 있는 蘆溪詩歌의 문학적 특징을 살펴보는 것은 朝鮮詩歌文學을 이해하는데 도움이 되리라 본다. 지금까지 蘆溪의 연구는 문학외적인 접근이 많았다. 그러나, 本 연구는 蘆溪詩歌의 특질을 규명하기 위해 작품에 나타난 心象을 보조관법과 원관념별로 구분하여 慣習詩論을 援用하여 그 문학성을 찾는데 力點을 두었다. Ⅱ章에서는 慣習詩論의 개념을 정립하고 心象과 관습시론의 관련에 대하여 살펴보았다. Ⅲ章에서는 蘆溪詩歌를 분석하되 心象의 보조관념별 유형으로 초옥, 바위, 산, 석양, 달, 배, 새, 바람, 물의 心象을 선택하여 松江, 孤山의 詩歌와 비교 대조하였다. 그런 후 각 心象의 의미가 구체적 형상화인가, 정서적 형상화인가, 관념적 형상화인가를 구분하였다. 그리고 그것이 관습적 차용인가, 개인적 발견인가를 항목마다 분류하여, 松江, 孤山詩歌와외 공통점은 보편성으로, 차이점은 특수성으로 보았다. 또한 원관념별 유형으로 태평성대, 충, 효, 성현, 가난, 隱居의 표현을 松江, 孤山詩歌와 비교 대조한 후 구체적 사물의 표현인가, 관념적 표현인가, 직서적 표현인가를 구분하였고 이를 각각 관습적 차용과 개인적 발견으로 분류하여 松江, 孤山詩歌와의 동일성은 보편성으로, 이질성은 특수성으로 보았다. 그런데 이러한 보편성과 특수성은 慣習詩論을 원용하여 고찰한 결과로써 蘆溪는 특수성보다 관습적 차용이 더 많은 작가임을 알았다. 그럼으로써 지금까지 松江이나 孤山에 비해 작품 수준이 낮은 것으로 평가되는 것이 여기에 기인함을 알 수 있었고 이같은 태도는 관습에 의해 쓰여지는 시대적 배경과 관련하여 논의되어야 할 것으로 보았다. Ⅳ章에서는 本 연구의 결론을 요약 정리했다. 즉 薦溪時歌는 관습이 요구하는 美와 표현을 위해 故事引用과 公式的 표현에 치중했고, 예술적 의도보다는 유교, 도교, 자연애 사상의 표현에 중점을 두었다고 보았다.;No-Kye was one of the three great poets in the Cho-Sun Age Our understandings about a poetic literature of the Cho-Sun Age could be increased by the examination of his poetic characters because his works in poetic genres called Se-Jo and Ka-Sa were very abundant and their contents also became a literary style in poetic literature. Many researches on No-Kye's poetry have put stress on the nonessential matters of literature. But, in order to giving light upon his poetic characteristics this study laid emphasis on finding the literary peculiarity of his poems by the classification of poetic images according to the concept of "Tenor ＆ Vehicle" and by the application of poetic images to "Conventional Poetics". In Chapter Two, this study established the concept of "Conventional Poetics" and examined relation between poetic image and "Conventional Poetics". In Chapter Three, this study analyzed No-Kye's poems by choosing images of the cottage, rock, mountain, sunset, the moon, the boat, the bird, wind and water, according to a pattern of the concept of "Vehicle", and by compairing and contrasting the poetic images of No-Kye with those of Song-Gang and Ko-San. And then, I differentiated the meaning of respective images in the poetry of No-Kye according to whether the meaning of image was concrete figuration, idealistic figuration, or emotional figuration. After deciding item by item whether they were borrowings from literary convention or the original, there were "universalities" if there were common features among the poetic expressions of Song-Gang, Ko-San, and No-Kye. Otherwise, there were "particularities". On the other hand, after comparing and contrasting the expression of a millennium, loyalty to his(or her) nation and parents, the sages, poverty and retirement with those of poems of Song-Gang and Ko-San according to a pattern of the concept of "Tenor", I differentiated whether they were expressions for real things, idealistic expressions, or descriptive expressions, and decided whether a manner of expression was borrowing one from literary convention or original one. And then, if there were common features among the manners of poetic expression of the three poets, there were "universalities". Or if not, there were "particularities". Universality and particularity were resulted from the application of this study to "Conventional Poetics". As a result, No-Kye was not so much a poet of particularity as the poet of universality. From the very point, I could find out the reason why he was less evaluated than Song-Gang and Ko-San. In Chapter Five, I summerised and concluded this study and came to a following conclusion: for literary beauty and expressions required by literary tradition, he gave priority to conventional expressions and the quotations ges) from the old Chinese works and expressed the ideas of Confucianism, Taoism, and taking nature for a friend, rather than the intention of art for art's sake.