丁學淵의 매화 연작시 『梅花三十首』에 대한 一考 (A study on 30 Poems on Plum Blossoms written by Jeong Hak-yeon)

서지정보

· 발행기관 : 한국학중앙연구원 한국학중앙연구원
· 수록지 정보 : 藏書閣 / 25호 / 136 ~ 162페이지
· 저자명 : 김지영

초록

이 논문은 藏書閣 所藏 詩選集 『鮮音』에 실려 있는 丁學淵의 梅花 連作詩 「梅花三十首」의 창작 배경과 함께 시의 내용 및 그 특징을 분석한 것이다. 이 시는 꽃이 핀 시기나 장소에 따라 다른 매화의 특징적인 모습을 묘사한 것으로 그 형식이 독특하며, 30수나 연작했다는 점에서도 주목을 요한다. 「매화삼십수」는 정학연이 杜陵詩社의 同人인 具行遠과 교유하는 가운데 지은 것으로 詩社 동인들 사이에 잘 알려져 있었던 듯하다. 다른 동인 신위도 같은 형식으로 매화 연작시 36수를 남겼는데, 이러한 형식은 중국 唐代부터 지어졌던 「梅花百詠」의 영향을 받은 것이다. 정학연은 이 시에서 매화를 주로 여성으로 묘사했으며, 남성 화자와 여성 매화 사이의 정감을 농후하게 표출했다. 또, 기존에 전형적으로 사용했던 用事를 끌어 썼으나 의인화나 의경 전개의 세밀화 등의 자기화를 통해 개성을 확보했으며, 매화의 모습을 주의 깊게 관찰하고 이를 감각적으로 비유해 새로운 미감의 매화시를 창출했다. 18세기부터 지속된 매화 완상의 풍조에 당대 문인들의 개인적 애호가 결합되어 19세기에도 다양한 매화시가 창작되었다. 특히 정학연, 신위, 조희룡 등의 문인은 「매화백영」의 영향을 받아 전대의 집단적 매화시와는 또 다른 형식의 巨篇의 매화 연작시를 창작했다. 이 가운데서도 정학연은 특히 主情的이고 감각적인 매화시로 그 만의 개성을 담아내고 있다.

영어초록

This paper aims to analyze the contents, and characteristics as well as the writing background of the Maehwa Samsipsu(梅花三十首, 30 Poems on Plum Blossoms)-the serial poems on each plum flower burst into bloom under different environments written by Jeong Hak-yeon which are contained in Seonum(鮮音, the poetic anthology owned by Jangseogak Archires of the Academy of Korean Studies). These poems describe the distinctive features of the plum blossoms according to each different environment, and exhibit a unique form. It is noticeable from the fact that the poet had written 30 poems in series. 30 Poems on Plum Blossoms were written by Jeong Hak-yeon during the time he associated frequently with Ku Haeng-won who was a member of a literary coterie, dubbed Dureungsisa(杜陵詩社, a small group of poets in a town, called Dureung, present southern Yangju, Gyeonggi-do), and seemingly, these poems were well known among the members of his literary circles. Sin Wi, another member of the literary coterie, had also written 36poems about plum blossoms in series following the same form, and such a form had been affected by Maehwa Baegyeong(梅花百詠, one hundred chants about plum blossoms) which had been written since Tang Dynasty in ancient China.
Jeong Hak-yeon depicted plum blossoms mainly as female, and expressed the warmth and affections richly between male speaker and female which is plum blossom. Although he quoted exemplary age-old experiences or wisdom(用事), which had been typically used in the conventional poetry, in his works, he established his individuality through individualization including personification or detailed development of idea and boundary(意境) and so on. He carefully observed the plum blossoms, in audition, having compared it sensuously, and then he created plum blossom poems along with new aesthetics.
With the stream of appreciation of plum blossoms which had been continued since 18th century, individual preferences of the writers of the day were combined. And even in 19th century, a variety of plum blossom poems were written. In particular, the litterateur such as Jeong Hak-yeon, Sin Wi and Jo Hui-ryong, etc, had been influenced by the form of poetry like Maehwa Baegyeong. As a result, these poets had created a great volume of poems about plum blossoms different from collective plum blossom poems. Among them, Jeong Hak-yeon had successfully captured his own unique individuality,especially with emotional and sensual poems on plum blossoms.

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