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김영봉 경상국립대학교 경남문화연구원 2015 남명학연구 Vol.47 No.-
In the East literature, there is a common use, “the poem is the person.” Thoughts, emotions, and personality of writer are reflected in the writer’s works. Jin-am, Lee byung-hun(1870-1940) is well known for the reformation theory of Confucianism and the movement of the religious of Confucius. At the same time, he was a poet who wrote more than 600 poetries. Even though his thoughts and studies have been studied in the past, his poetry has not been studied yet. To understand the characteristic of Lee Byung-hun comprehensively, his poetry must be researched and studied. Through the analysis of Lee Byung-hun’s poetry, this paper exposes the appearance of him as a poet and ascertains his literary accomplishment. There are three kinds of thematic consciousness. First is an unfortunate feeling, and it came from the thought when Lee Byung-hun felt he was not accepted by the world. Second is patriotism; he lived during the time when Korea was taken over by the Japanese. Last is implementing the Confucianism on his poetry as a Confucian. There are two literature characteristics on his style. First, Lee Byung-hun felt depression and indignation while he was living in dark time. Second, he felt purity and refinement through rigorous training as a Confucian. Depression and indignant are acquired characters which are reflected in time period while purity and refinement are natural characters and those are shown on his lyric poetry. 동양의 문학계에서는 옛날부터 “시는 그 사람과 같다”는 말이 통용되었다. 작가의 사상, 감정은 물론이고 그 사람의 인격까지 그의 작품에 반영되는 것으로 인식한 것이다. 진암 이병헌(1870-1940)은 유교 개혁론이나 공자교 운동으로 널리 알려진 인물이다. 그러나 그는 600여 수가 넘는 시를 남긴 시인기이도 하다. 그의 사상과 학문에 대해서는 많은 연구가 이루어졌지만 그의 문학에 대해서는 아직 전혀 연구가 이루어지지 않았다. 이병헌의 종합적인 성격을 이해하기 위해서는 시 작품에 대한 연구를 빠뜨려서는 안 된다. 이 글은 그러한 문제점을 해소하기 위해 그의 시집에 실린 작품의 연구를 통해 시인으로서의 면모를 드러내었다. 이를 위해 그의 시에 나타난 주제 의식의 분석을 통해 작품 전반적인 성격을 규명하였으며, 시의 풍격을 고찰함으로써 시인으로서의 문예적 성취를 확인하였다. 주제 의식은 크게 세 가지로 나타난다. 첫째는 자신이 세상에 받아들여지지 못하여 느끼는 불운한 감정인 身世之感, 둘째는 일본에 나라를 빼앗긴 시기를 살아가면서 견지한 우국 정신, 셋째는 유학자로서 유교 정신을 작품에 구현하는 것이다. 풍격에 드러난 문예미의 특질은 크게 두 가지로 나타난다. 첫째는 암울한 시기를 살아가면서 느낀 幽鬱과 慷慨이고, 둘째는 철저한 수양을 거친 유학자로서 가지고 있는 平淡과 典雅이다. 유울과 강개는 시대적 상황에 따른 후천적인 풍격이고, 평담과 전아는 서정시에서 주로 나타나는데 이는 선천적인 성격을 반영한 것으로 파악된다.
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김영봉 국제언어인문학회 2012 인문언어 Vol.14 No.2
Classical Chinese poetry (漢詩) is the essence of Chinese literature. In the ancient period the intellectuals in East Asia were all poets. The people learned how to express through poetry their public or private experiences as well as their personal feelings throughout their lives. Musicality is the principal factor among aesthetic features of Classical Chinese poetry. Being originated along with music, Classical Chinese poetry was actually a lyric and kept its musical character even after its separation from music in the later period. Hence it has become a tradition to recite a poem like singing a song with a certain tune. Classical Chinese poetry also has a strong picturesque feature. Popular Classical Chinese poetry used to be adopted as a picture by many intellectuals who also utilized picturesque forms in poetic forms. Wang Wei (王維), a famous poet and painter of the Tang dynasty, had a great impact on this practice. Another characteristic feature of Classical Chinese poetry is that techniques of comparison and symbolism has been remarkably developed. Classical Chinese poetry used to have codified devices for various rhetorics. This partly makes it difficult to understand Classical Chinese poetry, but such a factor exhibits excellent connotation. One of the important aesthetic essence of Classical Chinese Poetry is symmetry by parallelism. As Chinese characters have multiple meanings in a word, Classical Chinese poetry could have expressed multiple connotations using this device. In this case, one has to understand both meanings to figure out various intentions of a poet. It is Hoimunsi (廻文詩) that dramatizes this kind of multiple connotations of Classical Chinese poetry. A poem could be appropriately appreciated when one reads it from various perspectives. Despite its significance in the Chinese literature, Classical Chinese poetry has attracted less attention even from scholars majoring in Classical Chinese poetry. It is thus urgent to place special stress on the Classical Chinese poetry in the Chinese Character education.
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