韓國詩話에 구현된 妾 한시의 미적특질 (Aesthetic features of Korean concubine poetry that realized in Korean Shihwa(a talk on poetry))

서지정보

· 발행기관 : 어문연구학회
· 수록지 정보 : 어문연구 / 68권 / 205 ~ 230페이지
· 저자명 : 문희순

초록

This article is the thesis to study the aesthetic level of Korean poetry that concubine women tried to pursue. Although the cultual position of concubine was able to discuss about literature and art within the aristocratic boundaries, but it shows distinctive features comparing to Korean poetry of the noble-woman due to such as their deprived birth and growing up back ground, incomplete marriage and economical difficulties.
In the Temperament thesis, the poem<(Yeong Yeon Ja:詠燕子)> of Kwon Sang Shin(權常愼) ‘s concubine Kyeong Hye(景蕙) became a object of the temperament thesis in the early 19th century. And this means while the Korean poetry of the noble-woman achieved the rightness of temperament, the concubine woman did not. This evaluation is also relevant to concubine's fluid life style.
In the aesthetic of New and Freshness(淸新), In 17~18th century Kim seong dal's(1642-1696) concubine Woolsan(region name)Lee's poetry <Tan Su(歎愁)>and <Kang Chon Jeuck Sa(江村卽事)> is evaluated that expressed the aesthetic of new and freshness. The aesthetic of new and freshness is considered to be the artistic level that Korean female poetry generally pursued in common including noble-women and Gisaeng.
In the aesthetic of Sadness and Grief(悽怨), In 16th century Jowon's concubine Lee ock bong's poetry <Yeong Wal Do Joong(寧越道中)> is evaluated that expressed the aesthetic of sadness and grief(悽怨). Among the female poets mentioned in poetry and painting, the noble-woman's poetry is analyzed as it write about the unrestrained concubine women's spirit.
In the aesthetic of Encouragement, there are Lee oc bong's <Gye mi book nan(癸未北亂)> and <Man heung jeung rang(漫興贈郞)>. The aesthetic of encouragement is about male, architecture, and huge land scape. Among the concubine women, only Lee oc bong's poetry was evaluated as a aesthetic of encouragement.
In the such as aesthetic of 'Beauty. subtleness', Yang sa gi's concubine' poetry <Kyu won(閨怨)> and 2 lines of Kyeong hyeo's poetry was the object for analysis. This aesthetic categories have something in come between noble-men and female poetry, however this have a distinctive point with different evaluation. This is considered that the limitation of social status is closely related to the art work.
Through the comprehensive approach up to the poetry and painting of Gisaeng and servant which is not covered this article, the aesthetic feature of Korean female poetry will be completely delivered. By studying the features of each status of female poetry, the distinguishable features between female poets, and female poet and male poet could be construed.

영어초록

This article is the thesis to study the aesthetic level of Korean poetry that concubine women tried to pursue. Although the cultual position of concubine was able to discuss about literature and art within the aristocratic boundaries, but it shows distinctive features comparing to Korean poetry of the noble-woman due to such as their deprived birth and growing up back ground, incomplete marriage and economical difficulties.
In the Temperament thesis, the poem<(Yeong Yeon Ja:詠燕子)> of Kwon Sang Shin(權常愼) ‘s concubine Kyeong Hye(景蕙) became a object of the temperament thesis in the early 19th century. And this means while the Korean poetry of the noble-woman achieved the rightness of temperament, the concubine woman did not. This evaluation is also relevant to concubine's fluid life style.
In the aesthetic of New and Freshness(淸新), In 17~18th century Kim seong dal's(1642-1696) concubine Woolsan(region name)Lee's poetry <Tan Su(歎愁)>and <Kang Chon Jeuck Sa(江村卽事)> is evaluated that expressed the aesthetic of new and freshness. The aesthetic of new and freshness is considered to be the artistic level that Korean female poetry generally pursued in common including noble-women and Gisaeng.
In the aesthetic of Sadness and Grief(悽怨), In 16th century Jowon's concubine Lee ock bong's poetry <Yeong Wal Do Joong(寧越道中)> is evaluated that expressed the aesthetic of sadness and grief(悽怨). Among the female poets mentioned in poetry and painting, the noble-woman's poetry is analyzed as it write about the unrestrained concubine women's spirit.
In the aesthetic of Encouragement, there are Lee oc bong's <Gye mi book nan(癸未北亂)> and <Man heung jeung rang(漫興贈郞)>. The aesthetic of encouragement is about male, architecture, and huge land scape. Among the concubine women, only Lee oc bong's poetry was evaluated as a aesthetic of encouragement.
In the such as aesthetic of 'Beauty. subtleness', Yang sa gi's concubine' poetry <Kyu won(閨怨)> and 2 lines of Kyeong hyeo's poetry was the object for analysis. This aesthetic categories have something in come between noble-men and female poetry, however this have a distinctive point with different evaluation. This is considered that the limitation of social status is closely related to the art work.
Through the comprehensive approach up to the poetry and painting of Gisaeng and servant which is not covered this article, the aesthetic feature of Korean female poetry will be completely delivered. By studying the features of each status of female poetry, the distinguishable features between female poets, and female poet and male poet could be construed.

참고자료

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