韓國詩學中的窮工論

徐寶余 ( Xu Baoyu ) 중국어문연구회 2023 中國語文論叢 Vol.- No.114

The theory of “the more suffering, the better writing”(窮工論) is an important proposition in Chinese poetics, which was first put forward by Ouyang Xiu(歐陽修) in Song Dynasty. Its theoretical origin has a certain relationship with the theory of “expression under indignation”(發憤抒情說) and “sighing in discontent”(不平則鳴說). However, the more direct source should be the popular “poetry will impoverish people”(詩能窮人說). Chinese scholars have discussed this proposition in Chinese poetics in many aspects. However, this statement was also popular in Korean poetics, and on this basis, many theoretical explorations have also been carried out. In addition to some arguments that agree with the old theory, they have found many breakthroughs in the anti-proposition of this proposition. Some people made the claim that poetry could make people flourish and wealthy people could also write poetry well. Some people put forward the position that the poems of the suffer(窮) also were not well written, and some other poems of the suffer(窮) were written without poverty. Some people put forward the position that the poor have nothing to do with poetry, and some people put forward the view that the suffering(窮) was also a kind of good, not poor in the general sense. In addition to these propositions, Korean scholars have also made a malleable analysis of the poverty involved, and made personalized explanations for poverty from multiple aspects such as self-poor(自窮), real poverty(真窮), poverty reduction(化窮), and gentleman poverty(固窮). Some of them also started from the relationship between literature and conduct, and in the context of poetry prophecy, they put forward the idea that poetry could observe and fortune tell whether others were poor or not. In this way, Korean scholars, under the influence of the theory of “the more suffering, the better writing”(窮工論) in Chinese poetics, have developed this traditional proposition in multiple directions, thus promoting the growth and development of this proposition in the field of Korean poetics. As the main example of this poetics proposition, it was not only confirmed by the practice of poetics in Tang and Song Dynasties in China (especially Tang poetry), but also supported by numerous cases of Korean poetics. Therefore, within poetics, Korean studies People have broken through the cultural gap between Korea and China, making it one of the most striking poetic phenomena in the cultural circle of Chinese characters.

王夫之的經文關係論

徐寶余 ( Xu¸ Baoyu ) 중국어문연구회 2021 中國語文論叢 Vol.- No.106

Jiangzhai shihua(薑齋詩話), written by Wang Fuzhi(王夫之), can be regarded as a book on discussing the relationship between classics and literature. On the part of the book of songs, it normally realized some artistic techniques from the later poetry creations, such as Quyingfa(取影法)、Zhubinfa(主賓法)、Yingchenfa(映襯法). These techniques, all summarized from the creation of future literature, were applied to the book of songs text analysis, so as to provide specific methods and methods for literary interpretation. On the otherwise, The book of songs, as the classic of Confucian, was always regarded as a model of later literary creation. Wang Fuzhi would like use the terminology of Confucian classics to request and evaluate the literature. At the meaning time, he also talked about the bad influence of the Book of Songs on the later literature. Obviously, it’s not fully affirmed for it’s the extreme, there are still criteria for judging right and wrong. The interest of poetics, by Wang Fuzhi, can be roughly summarized as Zhuke Hutong(主客互通) and Jingwen shuangjie(經文雙解). The Zhuke Hutong(主客互通) means readers use their own emotions to experience and feel the emotions in The Book of Songs. Xing-Guan-Qun-Yuan(興觀群怨), Wang Fuzhi called it Siqing(四情), which becomes the link that maintains the reader and the Book of Songs. Siqing(四情) connects the ancient feelings with the present feelings, thus providing the possibility for the interpretation of the Book of Songs and literary reading. Interpreting the Classics by literary and restricting the literature by Classics has received double effect of interpretation.

王夫之的六朝文學觀

徐寶余 ( Xu¸ Baoyu ) 중국어문연구회 2021 中國語文論叢 Vol.- No.107

Wang Fuzhi’s(王夫之) comments on the literature of the Six Dynasties have extremely important value in the history of poetry. Before Wang Fuzhi, no scholar had fully affirmed and praised the literature of the Six Dynasties like him. This is mainly because his conclusion was based on the selection of poetry in the past. This is different from the generalization of those general commentators. Wang Fuzhi’s affirmation of Six Dynasties literature is mainly reflected in six aspects. First, he refuted the theory of “rise from decline”(起衰論). In his opinion, the Song’s theory of “rise from decline”(起衰論) was wrong. Compared with the Tang Dynasty, the literature of the Six Dynasties was not a decline. The poetry of the Six Dynasties inherited the Zhou-Han(周漢) and opened the Tang Dynasty. The Six Dynasties should not be regarded as a decline. Second, the poems of the Six Dynasties preceded the poems of the Tang Dynasty. The most mature modern-style poems in the Tang Dynasty originated in the Six Dynasties; Tang poetry often drew nourishment from the Six Dynasties poems, and most of fine verses came from the Six Dynasties. In terms of subject matter, technique, structure, rhyme, and words, they were all influenced by the Six Dynasties literature. Fourth, there are differences in the literature of the Six Dynasties. Wang Fuzhi divided it into three stages: Jin-Song(晉宋), Qi-Liang(齊梁), and Chen-Sui(陳隋). In general, it was the highest in the Jin-Song dynasties. However, even so, he did not deny Qi-Liang or Chen-Sui completely. Fifth, Wang Fuzhi also had a unique understanding of the poetic styles of the Six Dynasties. For example, he respected the Five-character poem of Jin-Song Dynasties, and believed that the Four-character poem of Shen Yue(沈約) were the best, and Xiao Yi(蕭繹) Seven-character quatrain was the vowel of the past dynasties. Sixth, it has pioneering and exemplary significance in the discussion of situational affair. The aspects of sentiment and scenery, matter and emotion, reason and poetry fully embodied his dialectical concept, which neither negated the scenery, matter, and reason in poetry, but also took care of emotion and essence.

奪換法下韓國人的唐詩觀

徐寶余 ( Xu Baoyu ) 중국어문연구회 2022 中國語文論叢 Vol.- No.111

The method of Duohuan(奪換), that is, the method of changing the bones and altering the fetus, is an important topic in the poetics of the Song Dynasty. Since Huang Tingjian(黃庭堅) proposed it, it has been used in the creation of poetry in the past dynasties. The method of changing the bones and altering the fetus, especially from Tang poetry, has become a relatively popular creative method. Korean poets are very concerned about this. In their reading, they could find the poems of the Tang Dynasty replacing the six dynasties, and put forward special mentions, even there are some places that Chinese scholars had not noticed. They also found lots of examples of later generations changing and altering the before, compared and evaluated them, and tried to find out the author’s personality and differences, so as to provide a reference for the current writing. Korean poets not only noticed the facts before and after Tang and Song poets were changed and altered, but also noticed how to change and alter Tang poetry in their own creations. There are many cases of Korean poets taking over and replacing Tang poetry in the process of creation. Changing and altering Tang poetry is an important way for them to learn Tang poetry. Some great poets in the Tang Dynasty, such as Li Bai(李白), Du Fu(杜甫), Bai Juyi (白居易), etc., were their most common targets for replacement; in addition, Korean poets also showed special preferences for poets in the middle and late Tang Dynasty, especially in the late Tang Dynasty. Korean poets also show a special preference for a certain poem or a certain sentence of the Tang Dynasty. For example, Zheng Zhichang’s(鄭知常) Datong Jiang(大同江) poem is a poem that was changed and altered from Li Du(李杜), and then formed a magnificent movement in the history of Korean poetics. There are many methods used by Korean poets to replace Tang poems. The more distinctive ones are the “Five-Seven Method(五七法)”, “Reversal Method(翻案法)” and “Set Syntax(集句法)”. These methods have undoubtedly brought many conveniences to the creation of Koreans. However, just as Chinese poets use the method of snatch and exchange, Korean poets are also faced with the problems brought about by snatch and exchange, among which there are two most important issues: one is how to distinguish the relationship between snatch and exchange, stealing, and sympathy, so as to avoid falling into a disadvantageous situation; secondly, after all, replacement is a way of imitating and learning from others. How to find a way of owning in writing is an important issue faced by Korean poets. So in the theory of Duohuan, there are voices of opposition. As early as the Korea period, people like Li Renlao(李仁老), Cui Zi(崔滋), Li Qixian(李齊賢) and others had already raised doubts about this, and in the Li Chao, Xu Juzheng(徐居正), Li Suiguang(李睟光), Liang Qing Yu(梁慶遇) and others have criticized this.