이황의 7정 이해 ―「예운」에서 『중용』으로 = Yi Hwang`s Understanding of the Seven Emotions -from Liyun to Zhongyong

다국어 초록 (Multilingual Abstract)

In this paper, I illustrate how the difference between the seven emotions from the ‘Li Yun’ chapter of the Liji and the four emotions from the Zhongyong affects the construction of arguments in the Four-Seven debate, mainly in the case of Yi Hwang. From a starting point in his second letter to Ki Tae-Seung, Yi Hwang’s view of the seven emotions went through significant changes, as was logically necessary for him to accept Ki’s idea of equating the seven emotions mentioned in the Li Yun chapter and the four mentioned in the Zhongyong. In fact, Yi’s changing views of the seven emotions can be outlined in three stages: the first being the stage of his Diagrammatic Treatise of the Heavenly Mandate and his first letter to Ki Tae-Seung, the second being the stage of his second and third letters to Ki, and the third being the stage of his fourth letter to Ki and his Diagrammatic Treatise of the Mind Governing Nature and Emotion. In his Diagrammatic Treatise of the Heavenly Mandate, Yi Hwang understood the seven emotions to originate from the body, to be identical to the heart following human desires (in contrast to the heart following the Way), and consequently, to be something that easily becomes evil. This reflects his acceptance of the seven emotions as presented in the Li Yun chapter. However, his view that the seven emotions arise from the original nature and is therefore good is partially expressed in his second letter and more clearly in his Diagrammatic Treatise of the Heavenly Mandate. This is a change brought on by an attempt to explain the seven emotions within the structure of the Zhongyong. This is why the seven emotions which were considered what is personal (私si) and similar to the heart following human desires at the beginning, ended up being interpreted as what is public (公 gong) and distinguished from the heart following human desires. As his view of the seven emotions changed, his understanding of mind in general changed also. In his Diagrammatic Treatise of the Heavenly Mandate, the four beginnings and the seven emotions are two equal components in the human heart, since their separate origins are emphasized. In his Diagrammatic Treatise of the Mind Governing Nature and Emotion, however, the original nature and form and matter are placed in a clear hierarchical order, and the original nature of benevolence, righteousness, propriety and wisdom is firmly perceived as the essence of mind. Accordingly, his view of mind changed from characterizing it as what is morally neutral to what is essentially moral, and in the function of its ministry from choosing among opposing pursuits to performing the essence of mind faithfully. This change in his understanding of mind, as applied to the theory of principle (li) and material force (qi) in the Diagrammatic Treatise of the Heavenly Mandate, makes the motivating source of mind twofold, i.e. the five constants and form and material force, and therefore the structure of mind here can be said to be li-qi dualistic. In the Diagrammatic Treatise of the Mind Governing Nature and Emotion, however, the original nature is considered to be the single motivating source of mind, and the structure of mind turns out to be li-monistic. As a consequence, even after the Diagrammatic Treatise of the Mind Governing Nature and Emotion, Yi Hwang’s theory in the four-seven debate kept the dualistic form of mutual issuance of principle and material force, in which the four beginnings are the issuance of principle and the seven emotions are that of material force, but in reality it has the structure and meaning of the theory of a single route of issuance of principle. The series of Yi Hwang’s theoretical changes concerning the seven emotions can be summarized as the process of his shift from the seven- emotion paradigm from the Li Yun chapter to the four-emotion paradigm from the Zhongyong.

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