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A Study on Yanggok Soseyang’s Yeonhaengsi - Focused on the Aspects of Recognition on ‘Hoedonggwan Mungeum’
Journal of Korean Classical Chinese Literature
Abbr :
한문고전연구
2013, 26(1), pp.39-72
DOI :10.18213/jkccl.2013.26.1.002
Publisher : The Classical Chinese Literature Association of Korea
Research Area : Korean Language and Literature
2013, 26(1), pp.39-72
DOI :10.18213/jkccl.2013.26.1.002
Publisher : The Classical Chinese Literature Association of Korea
Research Area : Korean Language and Literature
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This article aims to consider Yanggok(陽谷) Soseyang’s(蘇世讓; 1486~1562) yeonhaengsi(燕行詩) regarding the aspects of recognition on ‘Hoedonggwan(會同館) Mungeum(門禁)’ in Peking and its significance as yeonghaeng literature. Yanggok’s yeonhaengsi is mostly 7-eon jeolgu and yulsi in general, and it seems to have been his efforts to cope diplomatically with the arbitrary exams conducted under king’s special command and the exchange of poems. Also, we can see that his works contrast the situations of ‘Mungeum’ and ‘excursion’ distinctively and describe it frankly. Looking into his works showing his sense of shame and critical mind towards Mungeum, first of all, we see that Yanggok simply recognized Mungeum as ‘Muieodalja (無異於㺚子; ones the same as barbarians)’, that is, ‘Naebok (內服; the status equivalent to that of the sovereign princely states)’. And it was the uncomfortable truth that they mistreated Chosun, a country of courtesy, identically with the barbarians wearing a pigtail. This was recognized to negate or weaken the status of Chosun that was regarded superior to that of surrounding nations. He was in agony as comparing his confined life in Hoedonggwan like a prisoner’s to chosu(楚囚; a person living as a captive in a foreign land) and showed critical mind bout Mungeum. Yet, he also indicated the aspects of resignation thinking of his wishes for return to his hometown feeling the limitations of positive exchange due to the practice of ‘Insinmuoegyo (人臣無外交)’. Next, examining his works expressing excitedness of ‘Hwangdoyuram (皇都遊覽)’ and ‘Oililchulgwan (五日一出館)’, we see that he used all the authentic precedents associated with each of the places in order to express sense of realism and diverse thoughts about the objects he actually saw in the excursion. He made efforts to enhance implication as well as symbolicity and also showed his confidence in the excursion. And it is considerably different from his world of works created in the Mungeum situation. His dualistic world of works may have been influenced by the specific place and situation, that is, Hoedonggwan and Mungeum. Mungeum was the system that strictly restricted not only Chosun yeonhaengsa’s outing but also exchange with people, too, so it is the biggest reason why we can hardly find their exchange with foreign figures or description of Peking in Yeonhaengrok written in Ming Dynasty.
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