하서 김인후 시에 나타난 염락풍

김동하 ( Dong Ha Kim ) 한국고시가문학회 2012 한국시가문화연구 Vol.0 No.30

하서 김인후는 조선 중기를 대표하는 성리학자로, 도학과 절의, 문장을 모두 갖춘 백세의 스승으로 추앙되며, 문묘에 배향된 유일한 호남인 이다. 그는 특히 도학에 밝아, 해동의 주돈이요, 호남의 공자와 같은 인물로 칭송되었다. 이러한 특성은 시 문학 방면에도 그대로 반영되어, 도학적 내용을 담은 도학시가 대부분을 차지하며, 순수시 자체도 거의 도학과 직·간접적으로 연관되어 있다. 하서의 도학시는 송조5현을 중심으로 한 일군의 성리학자들에 의해 형성된, ``시경의 풍아``에 근원을 둔 송시의 한 유파인 염락풍 시가 주류를 이룬다. 염락풍 시란 설리적 경향의 시로, 일반적인 송시와도 구별되는 독특한 특색을 지니고 있다. 그것은 인간의 올바른 심성을 드러내는 시이고, 수양 과정과 유교적 가치관을 추구한 시이며, 천리를 따르는 사람의 마음을 노래한 시란점 이다. 하서는 전형적인 성리학자로서 ``재도문학론``을 충실히 따르며, 성리학적 이치를 정제된 언어로 표현함으로써 독자적인 문학적 성과를 이루었다. 하서의 문학 작품에 나타난 염락풍 시의 특징은 다음과 같다. 첫째, ``시경``의 ``풍아``를 시의 전형으로 여기며, ``관저``편과 같은 주로 ``주남``과 관련된 작품 등을 독후감 형식으로 남겼다. 또한 경물시의 형식을 빌려 성정을 함양하고, 대자연의 이치를 발견해내는 도학자의 모습을 그려냈다. 둘째, 전형적인 도학자로서, 경(敬)에 바탕을 두고, 유교의 경전을 독서의 대상으로 한 학문 수양을 통해 평생 동안 성도지학을 추구했다. 경서 중에서는 특히``소학(小學)``에 커다란 가치를 두었는데, 이는 스승인 모재 김안국의 영향이 크게 작용한 것으로 보인다. 셋째, 성리학 이론을 작품화한 경우, 대부분 주희의 이기론(理氣論)을 따르고 있으며, 주렴계의 ``태극도설``과 관련된 시나 인성론과 관련된 내용을 읊은 시가 주종을 이루고 있다. Haseo Kim Yin-hoo was one of the most distinguished Neo-Confucianist in the middle period of Chosun Dynasty. He has been respected as a permanent teacher all endowed with ethics, fidelity, and writing. Furthermore, he is the only person local to Honam Province commemorated in the Confucian Shrine as one of the 18 wisest men from Sinla Kingdom through Chosun Dynasty. Significantly he was brilliant in moral philosophy. So, he was praised as a Zhou Lianxi of Chosun or Confucius of Honam Province. Above all, Haseo was a gifted writer. He had shown a talent for literature from just childhood around age of five. In fact, he was a great poet writing about 1600 pieces of poetry written in Chinese-characters, and an eminent leader playing a key role in Honam literary circles in 16th century. His poetic works had a variety of literary characteristics transcending the literary style and formation. Some poetic works have free Tang-poetic style, while others have ideological Song-poetic style. However, Haseo was a typical Neo-Confucianist rather than a poet or a writer. As a result, most of his poetry has a tendency towards moral philosophy. They are, a sort of Song-style poetry, that is, Lianluo-poetic Style poets. He thought that the literature is a trifling skill. So, he always faithfully followed the theory of Dao-containing literature that literary works contain a Confucian ideology and concepts mainly asserted by Zhou Dunyi and four virtuous gentlemen of the Song Dynasty in China, This paper is divided into three parts, First, I will look into the notion and origin of Lianluo-poetic Style, I will compare the difference between Tang- poetic style with Song-poetic style. Second, I will compare Haseo`s Lianluo-poetic Style with other Neo-Confucianists` poetry. This will be done using 3 categories; the Fengya theory of ``the Book of Odes``, the cultivation of one`s mind theory through the four books and the three classics, and Cosmology theory of Neo-Confucianism. Finally, I will discover the unique characteristic of Haseo`s Lianluo-poetic Style.

『批選龜峰先生詩集』에 나타난 비평에 대하여

이향배(Hyang-bae, Lee) 어문연구학회 2012 어문연구 Vol.72 No.-

『Critiques of Scholar Gee-Bong, Song, Ik-pil’s Poetry Collection』 is a poetry collection written by Song, Ik-pil, which was compiled in complete works of 5 volumes by Shim, Jong-jik. This collection of poetry includes criticism in the form of critique & annotation with focus on quatrains and a style of Chinese verse. This paper examined the aspect of criticism centering on critique and annotation. 『Critiques of Scholar Gee-Bong, Song, Ik-pil’s Poetry Collection』 As for the criticism on the work contents, this study examined with focus on the criticism on the ‘Uigyeong’(landscape in mind), ‘Emotions’ and ‘Poetic Idea’(Hippocrene)revealed in the work. Its critic offered a literary criticism on the work content using the terms, such as ‘Mind’ ‘Emotion’ and ‘Idea’, etc., mostly in the manner of criticizing or explaining the poetry from the aspect of ‘Uigyeong’(mental stage), ‘Emotions’ and ‘Poetic Idea’(Hippocrene). In the criticism on physical thinking embodied in the work, this paper examined the critic’s aspect of evaluating Song,Ik-pil’s poetry which strikes a superb harmony with a sentiment on the basis of his physical thinking. In view of the critique terminology related to Li(理), this paper made clear the point that the critic had not only a knowledge of natural science but also a deep understanding of the Yeonrak-style poetry, as well as the fact that the critic evaluated the author’s personality, scientific stage, and philosophy of living from the moral perspective. In addition, this study made it clear that the critic made a high evaluation of Song, Ik-pil’s poetry while comparing and evaluating his poetry through the criterion on the poetry in Tang and author’s personality. The critic made it possible for us to weigh up what level his poetry is up to by commenting on his originality while doing comparative evaluation of Song, Ik-pil’s poetry based on the poetry in Tang; in addition, the critic also highly appreciate Song’s fresh and individual verses. Further, this paper took a look at the terminology on personality with focus on critical remarks such as a series of the letter of ‘Han(Idleness)’, ‘Ko(Highness)’ and ‘Cheong(Lucidity).’ In the criticism on rhetoric, the paper analyzed the critic’s criticism on novel poetic words or description of scenery. The critic did relatively few comments on well-trimmed verses or letters while highly appreciating synesthetic expressions. In addition, this paper drew the conclusion that the critic of 『Criticism and Annotations』 was a person of quite remarkable insight into poetic theory and evaluation. In other words, the critic was in possession of the ability to accurately criticize the poetry of Yeomrak style through his good knowledge of the poetic nature during the Tang era, and deep understanding of natural science as well. Accordingly, it can be said that the critic of 『Criticism and Annotations』 is a person equipped with the expertise on poetic criticism of the day. 『비선귀봉선생시집』은 심종직이 5권 1책으로 편찬한 송익필의 시집이다. 이 시집은 絶句와 律詩를 중심으로 수록되어 批註 형태의 비평이 달려 있다. 본고에서는 비주를 중심으로 비평의 양상을 살펴보았다. 작품 내용에 대한 비평에서는 작품에 나타난 意境, 情緖, 詩想에 관한 비평을 중심으로 살펴보았다. 비평자는 ‘意’, ‘情’, ‘思’ 등의 용어를 사용하여 작품의 내용에 대해 비평했는데 주로 의경, 정서, 시상의 측면에서 시를 평가하거나 설명하는 방식으로 비평하고 있었다. 작품에 구현된 이학적 사고에 대한 비평에서는 비평자가 이학적 사고를 바탕으로 감성과 절묘한 조화를 이루는 송익필의 시를 평가한 면모를 살펴보았다. 理 관련 비평용어를 볼 때 비평자는 이학은 물론 염락풍의 시에도 깊은 이해를 하고 있었으며 또한 도덕적 관점에서 작자의 인품, 학문적 경지, 처세 등을 평가하는 점을 밝혀냈다. 唐詩 基準 비평과 풍격평에서는 비평자가 唐詩를 기준으로 송익필의 시를 비교 평가하면서 독창성을 높게 평가하고 있는 점을 밝혀냈다. 비평자는 송익필의 시를 당나라 시인과의 우열을 비교 논평하여 그의 시가 어느 수준에 도달했는지 가늠하게 했으며 참신하고 개성적인 시구를 높이 평가했다. 또한 풍격용어는 ‘閑’자류, ‘高’자류, ‘淸’자류의 평어를 중심으로 살펴보았다. 수사에 대한 비평에서는 기발한 시어나 경치묘사에 대한 비평을 분석하였다. 비평자는 琢句나 琢字에 대한 평은 상대적으로 매우 적은 편이며 공감각적인 표현에 대해서 높이 평가하고 있었다. 『비선』의 비평자는 시의 이론 및 평가에 대한 매우 뛰어난 안목을 가진 사람이었다. 唐詩의 특성을 잘 알고 이학에도 깊은 이해가 있어서 염락풍의 시를 정확하게 비평할 수 있는 능력을 가진 비평가였다. 따라서 『비선』의 비평자는 당대의 시비평에 전문적인 식견을 갖춘 유능한 비평가라고 할 수 있다.

後西崑體 시의 형식적 특징에 관한 小考

박민정 중국어문연구회 2019 中國語文論叢 Vol.0 No.92

To understand the Latter Xikun poem style as an extension of the Xikun poem style, as previously analyzed, this is because their poems directly inherited the lyric poets in their content and choice of expression techniques and forms. But that’s not just how they stayed there. This paper looked at its features in three parts―the form of a poem; the choice of a word; arrangement of Duizhang―and based on them we drew the same points and differences from it. The first, like the Xikun poem style, the Latter Xikun poem style created many Lushi, Yanshu⋅Song Xiang and Song Qi also created Jueju and Guti style, this means an attempt to diversify the form of poetry. The second, both Xia-song and Wang-gui wrote Fugui poem through Fugui word; through relatively clear words, Yanshu wrote Fugui poem; both Song-Xiang and Song-Qi expressed their personal feelings mainly in plain verse. The choice of a word, the Latter Xikun poem style tried to improve the deficiency of the Xikun poem style, according to the demands of the times. The third, in arrangement of Duizhang, Poets of the Latter Xikun poem style all made a very meticulous Duizhang, this is a characteristic of the Xikun poem style.

찬송가의 유입과 메타모포시스 시학의 가능성—창가, 신체시, 자유시의 등장을 중심으로

전영주 한국문학과종교학회 2019 문학과종교 Vol.24 No.1

This thesis started with two questions about the process of development of modern poetry. First, did the modern poetry follow the gradual transition process of development of Enlightenment lyricfromEmergence of Song, throughNew style poetry, to Free verse poem? Second, did the influx of hymn in late 19th century influence not only poetic song which is poem intended to be sung but also development of the New style poetry and Free verse poem? Actually, Emergence of Song and the New style poetry influenced Poetic song in enlightenment period as they were translated actively by Western missionaries. Later they are considered to have an effect on the beginning of Free verse poem. Hymns were religious music that were based on Western music but via the translation process they brought changes about poetic rhythm and perception of newly brought materials. So they seem to have influenced development of modern poetry. Nam-sun Choi ’s New style poetry made an appearance in this situation, This thesis call it ‘metamorphosis poetics’ as it was developed during the time of conflicts and changes. 이 논문은 근대시 형성과정에 대한 두 가지의 의문으로 시작 했다. 첫째, 근대시의 형성과정은 개화가사→창가→신체시→자유시로 단계적인 이행을 거쳤을까? 둘째, 19세기말 찬송가의 유입은 창가처럼 노래를 전제한 시가(詩歌)뿐만 아니라, 신체시와 자유시의 형성에도 상당하게 영향을 주었을까? 하는 것이었다. 사실 창가와 신체시는 서양의 선교사들이 중심이 되어 찬송가가 활발하게 번역되면서 개화기의 시가(詩歌)에 영향을 주게 되고, 이후 자유시의 태동에도 일정부분 영향을 끼친 것으로 생각된다. 이 글의 논점은 찬송가는 서양악곡을 기반으로 한 종교음악이었지만 번역과정을 통해 시적(詩的)인 형식과 새로운 문물에 대한 인식의 전환을 가져와서 근대시의 형성에도 영향을 준 것으로 보았다. 최남선의 신체시는 그 가운데에 등장하게 된 것이며, 본고는 이를 갈등과 변화 속에서 탄생한 ‘메타모포시스 시학’으로 불러보고자 했다.

김소월 초기 시에 나타나는 「자야가」의 영향

권정우 구보학회 2018 구보학보 Vol.0 No.18

The purpose of this paper is to explain how Kim So-wol's " Azaleas Flower " was created. “Azaleas Flower” was created under the influence of the female Chinese poetry writers Jaya and Seoldo, “Jaya's song" and ”Chungnamsa“. In this paper, only the effects of " Jaya " were considered. Kim So-wol is thought to have translated “Jaya's song" into Korean, but there are no ones left from the Korean translation. Through Kim Ok's translation, " The Unforgettable " a modification to Kim So-wol's work, we could assume that Kim So-wol translated the poem “Jaya's song". There are two reasons to suppose that Kim Ok might have modified Kim So-wol's translation of the first poem. One is that Kim Ok doesn't fully understand “Jaya's song" and the other one is that the second half of the fourth line seems to have been translated by Kim So-wol. Kim So-wol created " The tears of the Afternoon, " " The Far After Day, " " The Unforgettable ", " Azaleas Flower " and " The Song of lover". Kim So-wol's " Azaleas Flower " has had three effects from “Jaya's song". The first is the poetic narrator's natural colloquialism style, which is characterized by “Jaya's song" The second is that it focuses on the paradox of love. A love paradox that even if you try to forget someone you could not give up to love because it is hard to endure the breakup, it is the subject of “Jaya's song". The third is the expression "I will not weep, even though I shall be dead." 'Cuchang' in the first half of the fourth line turned into a statement by a poetic speaker and used an ironic expression. 본 논문의 목적은 김소월의 「진달래꽃」이 어떻게 창작되었는지를 밝히는 것이다.「진달래꽃」은 여성 한시 작가인 자야와 설도의 작품, 「자야가」와 「춘망사」로부터 영향을 받아 창작되었다. 본 논문에서는 「자야가」로부터 받은 영향만을 고찰하였다. 김소월은 「자야가」를 우리말로 번역했을 것으로 추정되는데, 김소월이 번역한 한시 작품은 남아있지 않다. 김소월의 작품을 수정한 김억의 번역 한시 「참아 못닞어」를 통해서 김소월이 「자야가」를 번역했다는 사실을 알 수 있다. 「참아 못닞어」가 김소월이 번역한 한시 작품을 수정했을 것이라고 추정하는 근거는 두 가지이다. 하나는 김억이 「자야가」를 제대로 이해하지 못했다는 점이고, 다른 하나는 「자야가」 4행 후반부가 김소월이 번역한 것으로 보인다는 점이다. 김소월이 「자야가」의 영향을 받아서 창작한 작품이 「오후의 읍」, 「먼후일」, 「못니저」, 「진달래꽃」, 「님의노래」등이다. 김소월의 「진달래꽃」이 「자야가」로부터 받은 영향은 세 가지이다. 첫 번째는 시적 화자의 자연스러운 구어체 진술 방식인데, 이는 사랑하는 사람을 그리워하는 여인이 부르게 되는 사랑노래가 시에 가깝다는 자야의 시관의 영향인 동시에 악부시의 특징인 노래를 김소월이 추구한 결과이다. 두 번째는 사랑의 역설을 주제로 한다는 점이다. 이별의 슬픔을 견디기 어려워 사랑하는 사람을 잊으려 해도 잊을 수 없는 사랑의 역설은 「자야가」의 주제이다. 세 번째는 ‘죽어도 아니, 눈물흘니우리다’라는 표현이다. 「자야가」 4행 전반부의 ‘惆愴’을 시적 화자의 진술로 바꾸고 반어적 표현을 사용한 것이다.

可歌:宋元赋体建构的正统反向

황탁영 한중인문학회 2024 한중인문학연구 Vol.0 No.82

Regarding Fu(赋), Some scholars from the Han dynasty firstly gave a definition from their own view. For example, Liu Xiang(刘向) and Ban Gu(班固) thought that reciting without singing was Fu, which uses recitation and has the artistic connotation of "not singing". It has been emphasized the visual and painterly effects of creating a Fu while emphasizing the descriptive and performative characteristics of reading. It became the most authoritative definition of Fu in the Middle Ages of China after being repeatedly cited from the Wei Jin to the Tang Dynasty. However, in the Song and Yuan dynasties, when people were discussing the way forward of Fu, they began to suggest a concept of ‘singable’. This conception was based on the dual facts of the paradigm struggle between ‘Han Fu(汉赋)’ and ‘Chu Sao(楚骚)’ and ‘becoming singable’ of rhymed literature at that time. By conscious reflection on the tradition of ‘unsingable’ since the Han Dynasty, ‘Han Fu’ was transformed from the style featuring the ‘magnificent beauty’ to the ‘soft, euphemistic and singable’ genre. Through conscious reconsideration about the nature of ‘Han Fu’, the visual and ornate literary style was reformed to 'poetic style’ and contemplative aesthetical value. This process not only triggered the turn and new change in the history of Fu, but also expanded the boundaries of ‘Doubting the Tradition(疑古)’ and "Changing the radition(变古)’ in Song and Yuan cultures.

고려기 시풍 전환의 의미

윤재환 한민족어문학회 2004 韓民族語文學 Vol.44 No.-

Koryo inherited poetry creation trend of the former generation being handed down from Unified-Shinla and accomplished internal change and development. This kind's change and development was continued with an idea and cultural development, and a poetical style of Song dynasty introduced into Koryo after settled downed in China was one of the factor encouraging this change and development. A poetical style of Song dynasty was supposed to be introduced in the middle of 11th century took position of the main part of Koryo chinese poetry and developed through 12th century. By an inflow of a poetical style of Song dynasty appeared after the middle of 11th century many different kind's poetical style, a poetical style of a six dynasty period being existed before Koryo, A poetical style of Dang dynasty based on poetical style of late Dang dynasty, a poetical style of Song dynasty being leaded by Sodongpa, existed before Koryo existed at the same time. Koryo literary man in that time learned and composed many different poetical style by their literary taste and an idea preference so many different kind's poetical style can be competed and created at the same time and place, and these things was meaning the development of early Koryo poetry world. These variable poetical style in that time was consolidated to poetical style of Song dynasty through 12th century and the change and development in poetry world took the role that Koryo poetry literature could be prosperous. By this reason, Koryo literary man tried to avoid only expressing beauty or formality, and tried to compose poetry based on reality. This is meaning that a Chinese poetry to Koryo literary man developed as everyday work. Koryo poetry literature developed through early Koryo is a part of preparing process to be unfolded a Chinese poetry history and is milestone telling that the study is not easy.

靑蓮 李後白의 唐詩風 受容 樣相 考察 - 絶句의 詩語와 素材 分析을 中心으로

이성형 한국한문고전학회 2014 漢文古典硏究 Vol.29 No.1

This study was designed to examine acceptance of Tang(唐) poetical style, focusing on the analysis of poetic diction and materials that were used in Jeolgu(絶句) of Cheonglyeon(靑蓮) Lee Hu-Baek(李後白, 1520~1578). On external characteristics of Cheonglyeon(靑蓮) Tang(唐) poetical style, he had an interest in an aesthetic sense of contraposition and showed a strong feature in it. Therefore, contraposition was used in 17 Su(首) of Jeolgu(絶句), and poetic diction suitable for lyrics and scenery were frequently used. In particular, poetic diction proper for ‘clear[淸]’ style of work composition was frequently used. Cheonglyeon(靑蓮) perceived the scenery of the season such as Japanese apricot flower as a representation of home. In a scenery poem, he realized a ‘clear and unique[淸奇]’ style of literary world by making a contrast between clear and fresh poetic diction and the impression of colors. Moreover, ‘Gyuwon(閨怨)’, or legends and names of location of Joseon were boldly made into works. Tang(唐) poetical style of Cheonglyeon(靑蓮) was greatly realized in Jeolgu(絶句), and lyrical mood and view of Tang(唐) poetical style was realized as well. However, contrastposition was overly used and his poems remained as a simulation of Tang(唐) poems. Nevertheless, status of Cheonglyeon(靑蓮) needs to be shed new light on as a pioneer in learning Tang(唐) along with Saam(思庵) Park Soon(朴淳). 本稿는 靑蓮 李後白(1520~1578)의 絶句에 활용된 詩語와 素材 分析을 중심으로 唐詩風의 受容 樣相에 대하여 考察하였다. 청련 唐詩風의 외적 특징을 살펴보면 대우의 美感에 관심과 特長이 있어, 17수의 절구에서 대우가 활용되었고, 詩語의 경우 抒情과 敍景에 적합한 시어의 활용 빈도가 높았다. 특히 ‘淸’한 풍격의 작품 구성에 적합한 시어의 활용 빈도가 높았다. 청련은 매화 같은 경물도 고향의 표상으로 제한하여 인식하였고, 풍경시는 淸新한 시어와 색감의 대조를 통해서 ‘淸奇’한 풍격의 작품세계를 구현했다. 또한 ‘閨怨’이나, 조선의 전설 및 지명도 과감하게 작품화하였다. 청련의 당시풍은 절구시에 잘 구현되었고, 당시풍의 서정적 意境을 구현하였지만, 지나친 대우의 활용이나 唐詩의 模擬에 머문 한계가 있다. 그러나 思庵 朴淳과 더불어 學唐의 선구자로서 청련의 위상은 재조명 받아야 한다.

청련(靑蓮) 이후백(李後白)의 당시풍(唐詩風) 수용(受容) 양상(樣相) 고찰(考察) -절구(絶句)의 시어(詩語)와 소재분석(素材分析)을 중심(中心)으로-

( Soung Hyung Lee ) 한국한문고전학회(구 성신한문학회) 2014 漢文古典硏究 Vol.29 No.1

本稿는 靑蓮李後白(1520~1578)의 絶句에 활용된 詩語와 素材分析을 중심으로 唐詩風의 受容樣相에 대하여 考察하였다. 청련 唐詩風의 외적 특징을 살펴보면 대우의 美感에 관심과 特長이 있어, 17수의 절구에서 대우가 활용되었고, 詩語의 경우 抒情과 敍景에 적합한 시어의 활용 빈도가 높았다. 특히 ‘淸’한 풍격의 작품 구성에 적합한 시어의 활용빈도가 높았다. 청련은 매화 같은 경물도 고향의 표상으로 제한하여 인식하였고, 풍경시는 淸新한 시어와 색감의 대조를 통해서 ‘淸奇’한 풍격의 작품세계를 구현했다. 또한 ‘閨怨’이나, 조선의 전설 및 지명도 과감하게 작품화하였다. 청련의 당시풍은 절구시에 잘 구현되었고, 당시풍의 서정적 意境을 구현하였지만, 지나친 대우의 활용이나 唐詩의 模擬에 머문 한계가 있다. 그러나 思庵朴淳과 더불어 學唐의 선구자로서 청련의 위상은 재조명 받아야 한다. This study was designed to examine acceptance of Tang(唐) poetical style, focusing on the analysis of poetic diction and materials that were used in Jeolgu(絶句) of Cheonglyeon(靑蓮) Lee Hu-Baek(李後白, 1520~1578). On external characteristics of Cheonglyeon(靑蓮) Tang(唐) poetical style, he had an interest in an aesthetic sense of contraposition and showed a strong feature in it. Therefore, contraposition was used in 17 Su(首) of Jeolgu(絶句), and poetic diction suitable for lyrics and scenery were frequently used. In particular, poetic diction proper for ‘clear[淸]’ style of work composition was frequently used. Cheonglyeon(靑蓮) perceived the scenery of the season such as Japanese apricot flower as a representation of home. In a scenery poem, he realized a ‘clear and unique[淸奇]’ style of literary world by making a contrast between clear and fresh poetic diction and the impression of colors. Moreover, ‘Gyuwon(閨怨)’, or legends and names of location of Joseon were boldly made into works. Tang(唐) poetical style of Cheonglyeon(靑蓮) was greatly realized in Jeolgu(絶句), and lyrical mood and view of Tang(唐) poetical style was realized as well. However, contrastposition was overly used and his poems remained as a simulation of Tang(唐) poems. Nevertheless, status of Cheonglyeon(靑蓮) needs to be shed new light on as a pioneer in learning Tang(唐) along with Saam(思庵) Park Soon(朴淳).

구봉 송익필 시의 시풍적 특징

명평자 한국사상문화학회 2019 韓國思想과 文化 Vol.100 No.-

ThThe mid-16th century when Gubong Song Ik-pil(1534~1599) lived was a transformational period with a transition from the style of Sung poetry to that of Tang poetry. Gubong was a figure equipped with superb poetic talent(詩才) and writing skills(文章力). Gubong’s poems plainly reflect the characteristics of sentences and studies he was involved in. Concerning the forms of expression, Gubong’s poetry pursues the Pungun(風韻) of Seongdang(盛唐), and regarding contents, it can be said to be equipped with dualistic aspects, neo-Confucian Seolri(說理) and the poetical style of singing about Gyeokyang(擊壤). Gubong did take Seongdang-si(盛唐詩), particularly Lee Baek(李白)’s poems, as a crucial reference to learn about poetry. Therefore, in Gubong’s poetry, we can find the style of Seongdang-si that stresses sensuous image, expresses subjective sentiment, delivers poetic meaning through depiction, and reveals the tendencies of romantic poetry. In particular, the subject matters often found in Lee Baek’s poetry can be also found in Gubong’s poems easily, and Lee Baek’s ‘Pyoil(飄逸)’, ‘romance(浪漫)’, and the stage of ‘Cheongsanggijeol(淸爽奇絶)’ can be also found in Gubong’s poems. Moreover, as neo-Confucianism(性理學) is crucial theory that penetrates into the contents of Gubong’s poetry, among his collection of poems, there exist a number of Dohak-si(道學詩) and Seolri-si(說理詩) with which we can infer his neo-Confucian view of the world. Gubong wrote poems based on the order of Heaven and the rules of Mother Nature he had found within natural phenomena, and he wrote poems about the ways of human beings living according to the order of Heaven. In terms of contents, another element of Gubong’s poetry that forms a crucial part of it is the aspects of Gyeokyang-si(擊壤詩). ‘Gyeokyang(擊壤)’ is the world where the ideal of Samdaejichi(三代之治) which Gubong did pursue is realized. Gubong’s poetry is appreciated as ‘Yobujijadeuk[堯夫之自得]’ and ‘Uichwigyeokyang[義取擊壤]’, and in Gubong’s poetry, we can find the attitudes of Anbun(安分), Muyok(無慾), Talsok(脫俗), Jahan(自閑) which can be also found in Soong(邵雍)’s Gyeokyang-si(擊壤詩).e Characteristics of the Poetical Style Found in Gubong(龜峯) Song Ik-pil(宋翼弼)’s Poetry 구봉 송익필(1534~1599)이 살았던 16세기 중반은 송시풍에서 당시풍으로 전이되던 시풍의 변환기였다. 구봉은 뛰어난 시재(詩才)와 문장력(文章力)을 갖추었던 인물이다. 구봉의 시에는 그가 수학한 학문과 문장의 특성이 고스란히 투영되어 나타나고 있다. 구봉의 시는 표현 형식에 있어서 성당(盛唐)의 풍운(風韻)을 따르고 있으며, 내용에 있어서 성리학적 설리(說理)와 격양(擊壤)을 노래하는 시풍의 이중적 면모를 지니고 있다고 할 수 있다. 구봉은 성당시(盛唐詩), 그 중에서도 이백(李白)의 시를, 시를 배우는데 있어서의 중요한 기준으로 삼았다. 따라서 구봉의 시에서는 감각적인 이미지를 중시하고, 주관적인 정감을 표출하며, 묘사를 통해 시의를 전달하고, 낭만시적 경향을 보이는 성당시의 풍격을 발견할 수 있다. 특히, 이백의 시에 주로 보이는 소재들을 그대로 구봉의 시에서도 쉽게 찾아 볼 수 있으며, 이백의 ‘표일(飄逸)’과 ‘낭만(浪漫)’ 그리고 ‘청상기절(淸爽奇絶)’의 경지 역시 구봉의 시에서 엿볼 수 있다. 그리고 성리학은 구봉 시의 내용을 관통하는 중요한 이론으로서, 구봉의 시집 안에는 구봉의 성리학적 세계관을 유추해 볼 수 있는 도학시(道學詩), 설리시(說理詩)가 다수 존재한다. 구봉은 자연현상 속에서 발견한 천도와 대자연의 이치를 시로 풀어내고, 천도에 순응하여 살아가는 인간적인 모습을 시로 엮었다. 내용상 중요한 비중을 차지하는 구봉시의 또 다른 요소는 격양시(擊壤詩)적 면모이다. ‘격양(擊壤)’은 구봉이 추구하는 삼대지치(三代之治)의 이상이 구현된 세상이다. 구봉의 시는 ‘요부(堯夫)의 자득[堯夫之自得]’·‘뜻을 격양에서 취했다.[義取擊壤]’고 평가 되는데, 구봉의 시에서는 소옹(邵雍)의 격양시에 보이는 안분(安分)·무욕(無慾)·탈속(脫俗)·자한(自閑)의 태도를 찾아볼 수 있다.