조선시대 여성 한시에 대한 몇 가지 질문 (A few questions about a female Chinese poem)

서지정보

· 발행기관 : 한국한시학회
· 수록지 정보 : 한국한시연구 / 29호 / 5 ~ 37페이지
· 저자명 : 이종묵

초록

이 논문은 ‘조선시대 한시를 지은 여성 작가가 왜 적은가?’ ‘조선시대 여성은 어떻게 시를 배웠는가?’, ‘조선 여성이 지은 시는 어떻게 전해지는가?’ 이 세 가지 질문에 대한 답을 제시하는 것을 목적으로 하였다.
첫째, 조선시대 여성은 『시경』과 『주역』 등에서 글을 짓는 것이 여성의 직분이 아니라는 편견에다 한문을 알아도 한글로 문필활동을 해야 한다는 문자생활사의 제약으로 작가 배출 자체가 적었다. 여성의 작품을 외부에 노출하는 것을 꺼리는 풍조도 작품의 전승을 막았을 것이다.
둘째, 조선시대 여성들은 이러한 열악한 환경에도 시집가기 전 부친이나 오빠에게 시를 배웠고 결혼 후 남편의 가르침을 받기도 하였다. 기녀의 경우 남성 사족과의 시로 대화하는 것이 일상이었기에 기녀 수업에서 한시가 당연히 빠지지 않았을 것이다. 또 조선 말기에는 한시가 상당 정도 대중화됨에 따라 한시를 배울 수 있는 교재가 등장하였고 한글로 번역된 시집이 나옴으로써 독학이 가능해지기도 하였다.
셋째, 조선시대 여성의 한시는 특수한 경우를 제외하면 집안의 문집을 정리한 世藁나 남편의 문집에 부록으로 얹히는 것이 일반적이었다. 독립된 시집의 간행이 이루어진 것은 여성의 문학을 인정하게 된 19세기 이후의 일이다. 이로 인하여 문집을 남기지 못한 대부분의 여성 한시는 남성들의 사랑방 ‘이야깃거리’로 전승되다가 시화나 야담, 잡록 등에 기록될 수 있었다.

영어초록

This thesis is a simple and rough answer to three questions: “Why are there few female writers who wrote Chinese poems during the Joseon Dynasty?” “How did women learn poetry?” and “How are poems written by Joseon women delivered?” During the Joseon Dynasty, women had a prejudice that writing in The Book of Odes and The Book of Changes was not a woman's job, and the writer's output itself was small due to the restrictions on writing in Korean even if they knew Chinese characters. In addition, there were more works that could not be conveyed even if there were works written due to the strong tendency of women's reluctance to expose their works to the outside world.
Despite the poor environment, women learned Chinese poetry over their shoulders based on their natural qualities. Most of them learned poetry from their father or brother before getting married, and some were taught by their husbands after marriage. In the case of female Gisaengs, it was common to talk with a male clan through poetry, so of course, one hour would not have been missed from the female Gisaeng class. In addition, as Chinese poetry became popular to a considerable extent at the end of the Joseon Dynasty, textbooks for learning Chinese poetry appeared, and poetry translated into Korean was released, making it possible to self-study.
Women's Chinese poems were difficult to publish except in special cases. It was common to organize a family collection of writings or to be added as an appendix to a husband's collection. It was after the 19th century that women's literature became recognized that rare but independent poetry books were published. Some female Gisaengs were published as literary books because of their outstanding talent, but this was also after the 19th century when male readers responded. Due to these conditions, most of the women's Chinese poems, which failed to leave a collection of writings, were handed down as men's ‘Sarangbang Story’ and miscellaneous records. It was natural that such poetry had a lot of confusion in the author or text of the work.

참고자료

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