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A study on Acceptance Patterns of Tao Yuan-ming's Four Words Poems by the Literati in the Joseon Dynasty

  • Journal of Korean Classical Chinese Literature
  • Abbr : 한문고전연구
  • 2018, 37(1), pp.251-299
  • DOI : 10.18213/jkccl.2018.37.1.008
  • Publisher : The Classical Chinese Literature Association of Korea
  • Research Area : Humanities > Korean Language and Literature
  • Received : October 29, 2018
  • Accepted : December 4, 2018
  • Published : December 30, 2018

Lee Hoon 1

1강원대학교

Accredited

ABSTRACT

This study named the works by the literati in the Joseon Dynasty as 'He Tao Si Yan Shi(和陶四言詩)' which were written to a given set of rhymes of Tao Yuan-ming(陶淵明)'s four words poems(四言詩), and explored the level of internal development and the significance of literary history while examining the acceptance patterns of Tao Yuan-ming's poetry. In this study, several writers were selected as the literati of 'He Tao Si Yan Shi' in the Joseon Dynasty: Kim Si-seup(金時習), Shin Hum(申欽), Yu Gye(兪棨), Kim Su-hang(金壽恒), Kim Chang-hyeop(金昌協), Jo Yu-su(趙裕壽), Jo Jong-jin(趙琮鎭), Lee Man-su(李晩秀), etc. The results of the analysis are summarized as follows. Tao Yuan-ming's four words poems, in terms of form and rhetoric, consciously inherited the style of『Shi Jing(詩經)』, which had an inclination to restoration or tended towards classicism, that is to say the worship of ancient. In comparison 'He Tao Si Yan Shi' showed literary intentions to pursue the archaism, but on the other hand, there's a deviation in the perception of archaism due to the difference in individual literary inclinations. Hence 'He Tao Si Yan Shi' displayed varied aspects in the title and form, some writers accepted Tao Yuan-ming's format while others made some variations on it with their own personalities. The year in which poems were created generally coincided with the time when the writers suffered after middle age; this proves that Tao Yuan-ming's poems were effective in expressing one's personal feelings and intentions. It is also noteworthy that the creation period of 'He Tao Si Yan Shi' was concentrated in the 17th century. There seem to be observable differences in the rhyming words(韻字) between 'He Tao Si Yan Shi' of the Joseon Dynasty and Tao Yuan-ming's four words poems. Jo Jong-jin and Lee Man-su mainly changed their last rhyming words into different words which were in the same rhyme group(韻目) of the original poems, in order to realize the internalization of thematic consciousness. Kim Chang-hyeop wrote poems in accordance with the thematic consciousness of Tao Yuan-ming's four words poems, but he did not create poems in the way of bouts-rimes(和韻詩). The most distinctive feature of 'He Tao Si Yan Shi' in the Joseon Dynasty is the rhetorical aspect. Kim Si-seup embraced every rhetorical expression technique of Tao Yuan-ming. In the 17th century, however, Shin-Hum, Yu-Gye, Kim Su-hang and Kim Chang-hyeop had different ways of accepting and making variations of it. Jo Yu-su, in the 18th century, accepted it at a very low level, but in the first half of the 19th century Jo Jong-jin and Lee Man-su absorbed it again at a high level. Considering that Kim Chang-hyeop did not use any title of Tao Yuan-ming's poems and even avoided the way of bouts-rimes, his works can be estimated to be located at a inflection point in the transformation process of 'He Tao Si Yan Shi'. Kim Chang-hyeop criticized the restoration in poetry of the 17th century, which made it possible for individualism to become a main literary trend of the 18th century. That's the reason why Jo Yu-su's acceptance level of Tao Yuan-ming's four words poems in the 18th century was so low in terms of rhetoric. Furthermore, in the first half of the 19th century, the government official-literary men who were influenced by Munchebanjeong(文體反正) of King Jeongjo(正祖) claimed to support restoration or classicism. That's why the level of acceptance of Tao Yuan-ming's four words poems in the works of Jo Jong-jin and Lee Man-su was increased again. As such, 'He Tao Si Yan Shi' experienced a process of transformation that was internalized by reconstructing the poetic qualities of Tao Yuan-ming's four words poems according to the periodical writing style and individual literary intention. Therefore the composition methods of 'He Tao Si Yan Shi' in the Joseon Dynasty can be classified into three types depending on the rhyme and acceptance patterns of themes: 'He Yun He Yi(和韻和意)', 'He Yi Bu He Yun(和意不和韻)' and a mixture of 'He Yun He Yi(和韻和意)' and 'He Yun Bu He Yi(和韻不和意)'. The type of 'He Yun He Yi' is to internalize by reusing the rhyming words of original poems and accepting the poetic themes. The works of Kim Si-seup, Shin Hum, Yu Gye, Kim Su-hang, Jo Yu-su and Jo Jong-jin can be included in it. And then, the type of 'He Yi Bu He Yun' is to internalize by not using any rhyming words of original poems but accepting the poetic themes. The works of Kim Chang-hyeop is considered to be of this type. Finally, the type of a mixture of 'He Yun He Yi(和韻和意)' and 'He Yun Bu He Yi(和韻不和意)' is a form of coexistence with internalization by reusing the rhyming words and poetic themes of original poems as well as expression of one's own themes. Lee Man-su's works correspond to this kind of type. In particular, Lee Man-su was the only one who followed the whole rhymes used by Tao Yuan-ming's four words poems and expressed his own themes while internalizing the form and meter of Tao Yuan-ming's poems. Considering these facts, Lee Man-su's ‘He Tao Si Yan Shi’ can be regarded as the highest peak in the degree of internal development of 'He Tao Si Yan Shi'.

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* References for papers published after 2023 are currently being built.

This paper was written with support from the National Research Foundation of Korea.
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