錢謙益의 ‘反經’의식과 ‘循本’창작론의 내적 통합성 연구 = A study of the Internal Integration of Qian Qianyi's ‘Fan Jing’(Returning to the Classics) Consciousness and ‘Xun Ben’(Following the Origin) Theory of Literary Creation

다국어 초록 (Multilingual Abstract)

This study examines how Qian Qian-yi(钱谦益, 1582-1664)’s critical consciousness of ‘Fanjing(反经, returning to the Classics)’ and his literary principle of ‘Xunben(循本, tracing the origin)’ came to form an integrated relationship during the intellectual crisis of the Ming-Qing transition. It further clarifies the ‘Ti yong(体用, substance-function)’ relationship among the core elements of his literary theory ―‘Lingxin(灵心, spiritual mind)’, ‘Shiyun(世运, worldly circumstance)’, and ‘Xuewen(学问, learning)’― which mediate between these two concepts.
Traces the formation and development of the Fanjing consciousness through three stages: conceptual definition, debate, and critical appropriation. In Classical studies(经学), Qian Qian-yi reconstructs the system of Classical learning based on the scholarly attitude of ‘taking the Han scholars as authoritative models(以漢人爲宗主)’ in order to recover the orthodox lineage of Classical interpretation. He implements ‘returning to the Classics and establishing correct learning(反经正學)’ through the methods of ‘mastering the Classics and drawing from antiquity(通經汲古)’, ‘investigating principles and analyzing meanings(窮理析義)’ and ‘elucidating and verifying through evidence(疏通證明)’ In historiography(史學), he systematizes the complementaryrelationship between the Classics(经) and histories(史) through the principle of ‘warping the Classics and weaving the histories(經經緯史)’. In literature, taking Du Fu(杜甫)’sdictum ‘discriminating spurious forms and learning extensively from many masters(別裁偽體, 轉益多师)’ as a paradigm, Qian establishes critical principles for identifying the defects of ‘hiring(僦)’, ‘plagiarism(剽)’ and ‘servile imitation(奴)’ among the degenerate offshoots of the Former and Later Seven Masters(前後七子) and the Gong-an(公安)·Jing-ling(竟陵) Schools ; the biases resulting from excessive emphasis on ‘innate sensibility(性灵)’ and the defects of ‘ghostly tendency(鬼趣)’ and ‘martial imagery(兵象)’. He thereby establishes the norm of xunben that recovers the origin of ‘literary pursuits(风·雅)’. Thus, it is confirmed that Fanjing functions as a practical principle for critically correcting the Classics that have become corrupt strains, while xunben operates as the creative norm for realizing the culmination of such correction and embodying the literary origin; together they form a unified theoretical system.
Chapter5 constructs the internal system of the three elements of literary theory ―‘Lingxin(灵心)’·‘Shiyun(世運)’·‘Xuewen(學問)’― upon the foundation of recovering the literary ‘origin(本)’. The creative principle of “germinating by cleaving [the seed coat] in the spiritual mind(萌折於靈心), awakening from dormancy in worldly circumstance(蟄啟於世運) and flourishing in learning(茁長於學問)” forms a mutually sustaining structure in which lingxin, shiyun, and xuewen operate through the mediation of ‘Fanjing and Xunben(反经-循本)’.
Among these, ‘Lingxin(灵心, spiritual mind)’ encompassing ‘Nature(性)’, ‘Emotiong(情)’, ‘Aspiration(志)’, ‘Vital energy(气)’, and ‘Talent(才)’, serves as the fundamental internal element of the creative subject and functions as the intrinsic motivating force of literary creation, refined through the process of ‘self-reflection(自反)’ inherent in Fanjing. ‘Shiyun(世運, worldly circumstance)’ functions not as a passive reflection of external conditions but as the central axis through which literature engages with reality and historical consciousness from the perspective of xunben. According to the principle that “when encountering a circumstance(境) and mutually resonating, when that circumstance presses upon one, melancholic thoughts surge unbridled, and poetry and prose emerge even without intending to write”. literary works resonate with the circumstances of their times, and ‘the authenticity(真)’ of literary expression is secured through lived experiences such as the pressure of historical reality. ‘Xuewen(學問, learning)’ serves as the nutriment of creation that enriches lingxin and renders ‘Shiyun(世運, worldly circumstance)’ cognizable, according to the principle that “when learning is abundant, all things become numinous(學富則使物皆靈)”. Accordingly, ‘the process of embodiment(體要)’ through ‘reading ten thousand books(讀萬卷書)’ enables the accumulation of learning and the internalization of the literary essence that culminates in the ‘origin(本)’.

목차 (Table of Contents)

• 1. 서론 1
• 1.1 연구 배경 및 연구 목적 1
• 1.2 연구사 검토 및 문제 제기 4
• 1.3 연구 범위 및 연구 방법 9
• 1.3.1 연구 범위 9
• 1.3.2 연구 방법 10
• 2. 전겸익의 생애 및 학술문학사상의 기초 12
• 2.1 명나라 말기(1582-1644) 12
• 2.2 명청 교체기(1645-1646), 청초 시기(1647-1664) 27
• 3. '반경(反經)' 의식의 형성 및 발전 과정 34
• 3.1.명말청초 시기 학술적 배경 34
• 3.1.1 程朱이학과 陸王심학의 공소한 학풍 비판풍조 형성 35
• 3.1.2 반성적 사고에 기초한 실학 태도의 흥기 40
• 3.1.3 '원전(原典) 중시' 의식의 계승 46
• 3.2 전겸익의 '반경(反經)' 의식 형성 50
• 3.2.1 孔孟의 '反經' 의식 계승 50
• 3.2.2. 유(儒)불(佛) 융합 사상의 수용 59
• 3.2.3 학문의 '繆種'이 만든 문학의 폐단극복을 위한 처방 85
• 3.2.4 反經의 실천 방법으로서의 '자반(自反)' 제기 88
• 4. 전겸익의 '반경(反經)' 의식과 '순본(循本)'의 연계 95
• 4.1 경학에서의 '반경(反經)' 95
• 4.1.1 명대 경학의 보편적 문제점 및 전겸익의 문제의식 95
• 4.1.2 '경학삼무(經學三繆)'의 문제 제기 99
• 4.1.3 경학의 근본 의미와 체계, 경학 방법의 재정립 126
• 4.2 사학에서의 '반경(反經)' 155
• 4.2.1 명대사학의 보편적 문제점 및 전겸익의 문제의식 155
• 4.2.2 '사학삼무(史學三繆)'의 문제 제기 166
• 4.3. 문학에서의 '반경(反經)' 185
• 4.3.1. 명대문학의 보편적 문제점과 전겸익의 문제의식 185
• 4.3.2. 문학삼무(文學三繆)의 문제 제기 196
• 4.3.3 문학의 본질 및 체계, 문학 방법의 제기 213
• 5. '反經-循本'에 기초한 문학창작 이론 체계의 정립 239
• 5.1 문학의 '本' 회복과 '萌折於靈心, 蟄於世運, 茁長於學問'의 창작 원리 239
• 5.2 창작 주체의 내재적 주관 요소: 영심(靈心) 244
• 5.2.1 영심(靈心)과 성(性)정(情) 247
• 5.2.2 영심(靈心)과 정(情)지(志) 251
• 5.2.3 영심(靈心)과 재(才), 기(氣) 259
• 5.2.4 영심(靈心)과 기(氣), 지(志) 261
• 5.3 문학의 현실 참여와 역사의식의 통합: 세운(世運) 267
• 5.3.1 세운과 영심(靈心)의 '境會相感，情僞相逼' 270
• 5.3.2 세운과 '시(詩)사(史)'의 동근성(同根性) 280
• 5.4 시 창작의 학문적 소양: 학문(學問) 293
• 5.4.1 '학문'의 효용과 그 본질 의미: '學富則使物皆靈' 297
• 5.4.2 학문의 체화(體化): '讀萬卷書-體要' 301
• 6. 결론 312