息庵 金錫胄의 文學論과 散文 硏究

국문 초록 (Abstract)

본 논문은 17세기의 주요한 문인인 息庵 金錫冑의 산문 문학을 구명하고자 한 연구이다. 김석주는 여러 차례 문형을 역임하였고 다양한 문학 활동을 하면서 생존 당시에 이미 문장으로 널리 인정을 받았으며, 후대 문인들로부터도 거듭 문장에 능하였다는 평가를 받았다. 그는 漢文四大家를 비롯한 선배 문인들의 업적을 계승하고 발전시키는 한편, 자신만의 개성 있는 문학을 추구하였다. 그의 문학적 성과는 農巖 金昌協을 비롯한 후대 문인들이 성장할 수 있는 밑거름이 되었다.

金錫冑(1634∼1684)의 조부는 潛谷 金堉(1580~1658)이며 부친은 歸川 金佐明(1616∼1671)이다. 김석주는 先代로부터 경세가의 면모를 배웠으며, 先代가 이룩한 활자 주조와 출판에 관한 전통을 이어 편찬활동을 활발히 하였다. 또한, 그는 申欽(1566~1628)과 申翊聖(1588~1644)이 쌓은 외가의 문학적 전통을 흡수하면서 이를 더욱 발전시켰다.

김석주의 스승은 외삼촌 申最(1619∼1658)이다. 신최는 辭賦와 科文에 뛰어났으며, 중국의 다양한 古文을 섭렵한 인물이다. 김석주의 문학 중에 높이 평가받는 辭賦와 策文의 탁월함은 신최의 문하에서 수학하면서 얻은 것이다. 또한, 신최는 김석주의 문학론을 형성하는 데 많은 영향을 주었다. 김석주는 신최의 문하에서 동문수학했던 인물과 문학에 대한 논의를 활발히 하였다. 趙顯期(1634∼1685)는 김석주가 20세 때 추구해야 할 문장에 대해 조언해 주었다. 申儀華(1637∼1662)는 김석주와 더불어 과거를 준비하여, 辭賦로 文才를 겨루기도 하였다. 申晸(1628∼1687)으로부터는 前後七子의 문집을 빌려보기도 하였다. 沈機는 비록 요절했으나 김석주와는 각별한 사이여서 그와 관련된 산문 작품을 많이 창작하였다.

김석주의 문학론은 그의 편찬 활동과 깊은 관련이 있다. 김석주는 17세기를 대표하는 선집의 대가이기도 하다. 그가 抄選한 선집은 다양한 文風에 두루 걸쳐있을 뿐만 아니라, 조선과 중국의 문학을 넘나들었으며, 시와 문장을 비롯하여 科擧에 필요한 전문적인 문체까지 폭넓게 포함하고 있다. 서적을 출판할 수 있도록 충분히 마련된 여건은 선집 활동에 대한 의욕을 더욱 불러 일으켰다. 그가 이룬 선집들이 출판 과정을 거쳐 당대에 폭넓게 읽혔던 사실이 이것을 입증한다. 그는 편찬 활동을 통하여 학습의 편리함을 도모하고 문학의 典範을 제시함으로써 文風을 바로잡으려 하였다.

김석주의 문학론은 세 시기로 구분할 수 있다. 초기는 20세 초반까지로 이때는 秦漢古文에 경도되어 있었다. 문장의 기세를 올리며 남들보다 빼어난 글을 쓰고자 고심했던 김석주에게 秦漢古文은 대안으로 받아들여졌다. 그러나 난해하며 文意가 깊은 秦漢古文을 이른 나이에 접함으로써 문제점이 생겼다. 불필요한 典故를 끌어와 지나치게 수식하여 문장이 난삽해진 것이다.

중기에는 이런 문제를 점차 해결하여 문학적으로 원숙해져 갔다. 20세 중반부터 40세 중반의 시기에 그는 초기에 秦漢古文을 추숭하며 생긴 문제점을 수정하였다. 그는 전후칠자의 擬古的 작법에 대해 비판적인 입장을 취하며 그것을 새롭게 인식하였다. 비판적인 시각으로 전후칠자의 글을 볼 수 있었다는 것은 김석주의 문장이 그만큼 성숙해졌다는 것을 의미한다. 그는 唐宋古文을 읽으며 擬古的 작법에서 벗어나려 노력하였다. 그 결과 秦漢古文에 경도되어 껄끄럽고 거칠게 된 문장에 순정한 唐宋古文의 장점이 가미되었다. 이 과정을 통해 김석주의 문장은 辭達과 修辭에 균형미를 이룰 수 있었다.

후기는 40대 후반부터 시작된다. 김석주는 이전까지 추구하며 완성했던 문학론 위에 새로운 시도를 하였다. 전통적인 載道的 문학론에 관심을 보이는 한편, 明代의 公安派 문학을 수용하였다. 이러한 시도는 문학적 영역을 심화 하고 확대하는 역할을 했으나 기존에 견지한 문학론을 부정하는 수준에 이르지는 않았다. 그동안 추구했던 자신의 개성적인 문장에 載道的인 내용과 공안파가 추구한 사유의 일부를 담아내는 정도였다.

김석주의 산문은 여러 문체에 걸쳐 많은 성과를 남겼다. 그중에서 辭賦와 策文은 산문 세계 형성에 초석이 되었다. 辭賦는 김석주의 산문 중에 단연 으뜸으로 뽑을 수 있다. 그는 科文學習의 과정으로 辭賦를 배웠으나, 이 목적을 떠나 평소 이 문체를 매우 즐겨하였다. 형식미가 정제된 김석주의 산문은 辭賦를 추구하며 축적한 역량에 힘입은 바 크다. 정교한 짜임새를 추구하며 이룩한 策文도 과거와 관련하여 창작한 것이지만 이후 議論文과 記事文 등의 산문 세계 형성 전반에 영향을 미쳤다.

김석주는 문인이면서 동시에 經世家로서의 삶을 살았다. 이와 관련된 산문으로 의론문인 疏箚가 있는데, 그 양이 방대하다. 소차는 조정에 서서 실제적인 경세 활동을 하며 남긴 작품이다. 또한, 김석주의 기사문에는 그의 문학적 성취가 집약되어 있다. 김석주의 기사문은 단련을 통해 창작되었기 때문에 인공적인 형식미가 뛰어나다. 이는 여러 유파의 문풍을 두루 섭렵하고 그 장점을 취하여 立意와 修辭에 적극적으로 활용하여 이룩한 것이다.

김석주의 문학적 성과는 개인적 차원에 머물러 있지 않다. 그는 16세기부터 본격화된 산문 이론과 비평에 대한 논의를 한 차원 높게 끌어 올렸다. 아울러 문장 작법에 대한 관심과 노력은 문단에 큰 반향을 불러일으켰다. 이것은 산문사에서 문예미에 대한 새로운 담론을 제시한 것으로, 후대 문인이 산문 미학을 심화시키는 데 밑거름이 되었다.

다국어 초록 (Multilingual Abstract)

This thesis is on the literature of Sigam Kim Seok-ju, the writer in the 17th century. Kim Seok-ju (1634-1684)’s courtesy name was Sabaek, his pseudonym was Sigam, and his posthumous epithet was Munchung. Kim Seok-ju is an important person in the 17th century history of literature. He lived his whole life in the 17th century and filled high-ranking literary position several times and was widely recognized for his masterful writing. Furthermore, he received high praise for his good writings repeatedly from the writers in posterity. He inherited and developed the achievements of superior writers including the Four Great Writers of Chinese Classics and pursued his own characteristic literature and his literary achievements served as a foundation for the growth of later writers including Nongam Kim Chang-hyeop.

Kim Seok-ju’s grandfather was Jamgok Kim Yook and his father was Gwicheon Kim Jwa-myeong (1616∼1671). The tradition with regard to type-founding and publication achieved by these forefathers exerted a great influence on Kim Seok-ju. Based on his forefathers’ achievements, he was able to engage actively in compiling anthology and publication activities. Kim Seok-ju was influenced by the family not only of his father’s side but also of his mother’s side while growing up. His mother’s side family was the Pyeongsan Shin family with the pedigree of his great grandfather on his mother’s side, Shin Heum, his grandfather on his mother’s side, Shin Ikseong. Kim Seok-ju’s writings were greatly influenced by the literary spirit of his mother’s side family.

Kim Seok-ju’s teacher is Shin Choi (1619-1658). Shin Choi, before being a teacher, is uncle on his mother’s side and observed Kim Seok-ju’s studying of writings since early years. He is evaluated as a fine writer of Qin-Han classics since he was influenced by the literary spirit of the Pyeongsan Shin family, which is the family on his mother’s side. The literary spirit of the Pyeongsan Shin family was known to be influenced by the writings of Qian Hou Qi Zi of Ming Dynasty. Shin Choi is in its center and is evaluated as the one who inherited the scholarly tradition of the family and kept the main line of descent. The excellence in verse and daechaek (the answers to the King’s questions) which are highly evaluated in Kim Seok-ju’s literature was what he acquired while studying under Shin Choi.

Kim Seok-ju associated widely with those whom he met while he was studying under Shin Choi. He associated not only with those who studied under the same teacher but also with the literary persons who were in and out of the Shin Choi family. Under Shin Choi, Kim Seok-ju studied with Jo Hyeon-gi, Shin Eui-wha and Shim Gi. Particularly, Jo Hyeon-gi (1634∼1685) advised Kim Seok-ju what he should pursue about the writings at the age of 20. Shin Eui-hwa (1637∼1662) was the son of Shin Choi and Kim Seok-ju’s cousin on his mother’s side. He prepared for the highest level state examination with Kim Seok-ju and would compete for the literary talent in poetry with him. Besides, he was close friends with Shin Jeong (1628∼1687), the son of Shin Ik-jeon (1605∼1660), and would borrow and read anthology of Qian Hou Qi Zi from him. Han Gu (1636∼1715) associated with Kim Seok-ju since he was 17 years old, and according to Kim Seok-ju, they got along well with each other like full brothers. Kim Seok-ju liked Han Gu’s calligraphic style which he used when he founded types and did publications.

Many writers were in and out of the Shin Choi family for its reputation. This became the great opportunity for Kim Seok-ju to meet diverse people. Among them, Hong Ju-se (1612∼1661) was acquainted with Shin Choi and he often stayed with his friend, and Kim Seok-ju would consult him about Shiji. Upon this opportunity, he became close friends with Hong Man-jong, the son of Hong Ju-se, and lots of contents about Kim Seok-ju are included in Sihwachonglim (詩話叢林) into which Hong Man-jong compiled poetry and painting of many generations. Besides, in connection with the family on his mother’s side, Kim Seok-ju also associated with Jeong Du-gyeong (1597∼1673), Kim Deuk-sin (1604∼1684), Park Se-chae (1631∼ 1695), Lee Min-seo (1633∼1688), Jeong Hong-myeong (1952∼1650).

Kim Seok-ju’s literary theory is closely related with his anthology and publication activities. Kim Seok-ju is also a representative great master of anthology in the 17th century. Based on his broad scope of reading, he selected diverse anthologies to help efficient studies. The anthology he selected consisted of diverse literary spirit and covered a wide range of Joseon’s and China’s literature and included specialized genres needed for the highest-level state examination including poetry and prose. The factors for making this possible are in direct contact with his capabilities to found types and lead publications. In other words, the sufficient conditions to be able to publish books encouraged his desire for anthology compiling activities. This is proved by the fact that the anthologies that he achieved went through the publication process and were widely read in his time.

In this thesis, Kim Seok-ju’s literary biography was divided into three periods. The first period is the period when he was around fifteen years old, and the second period is the period of he being 28 years old right before he entered government service after he formally became disciple under Shin Choi, and the third period is the period from his entering government service to his finishing his life. Kim Seok-ju was steeped in Qin-Han classics from the period when he first learned sentences to the period when he became the disciple under Shin Choi and inherited a field of study. Qian Hou Qi Zi of China refused the existing worn-out sentences, and the literary style which they presented as a new alternative flowed into Joseon and a group of writers sympathized with it. For Kim Seok-ju who wanted to be excellent in writing while arousing his enthusiasm for sentences, Qian Hou Qi Zi’s art of writing was equivalent to an alternative. But Qian Hou Qi Zi’s intention was good but there were various harmful effects. One of them is to polish up sentences too much by citing difficult and unnecessary authentic precedents. Since Kim Seok-ju received writings of Min Dynasty uncritically at a young age, he did not guard against their ills but focused on writing attractive sentences polished up by merely citing difficult expressions from pre-Qin-Han classics.

After wards, at the age of around 20, Kim Seok-ju became critical of the literary style of Qian Hou Qi Zi whom he revered posthumously and became newly aware of it. He criticized Lee Ban-yong, one of Qian Hou Qi Zi on the unnecessary citing of authentic precedents. The fact that Kim Seok-ju was able to see the writings of Qian Hou Qi Zi objectively means that his sentences matured that much. Afterwards, he asked Shin Choi to compile a volume of anthology by selecting writings of Mo Gon, one of Tang-Sung classics writers, and Wang Se-jeong, one of Qian Hou Qi Zi. It can be seen that through this anthology Kim Seok-ju developed his own literary style by taking advantages of these two writers. Thus, the advantages of pure Tang-Sung classics were added to the awkward and rough Qin-Han classics. Through this process, his writings could achieve the beauty of balance between texts and rhetoric. Thus, he established such principles of writing, and gave fellow scholars the anthology of Seo Jeong-gyeong, one of Qian Hou Qi Zi, and would also point out the things to be careful in reading the writings of Qian Hou Qi Zi

The writings of Kim Seok-ju who grew through this process were highly evaluated by the fine writers not only of his time bur also of posterity. In many anthologies, his writings were selected and received reviews and where writings were discussed, the evaluations of Kim Seok-ju’s writings appeared often. Focusing on this, this thesis examined the characteristics of Kim Seok-ju’s writings and analyzed such diverse literary criticisms. Of course, other writers’ criticisms of Kim Seok-ju’s writings can be subjective. However, there were many literary criticisms of his writings not only by the writers of his time but also by those in posterity, and those criticisms have something in common among them, so they were worth analyzing.

Based on the aforesaid discussions, this thesis viewed that the core of Kim Seok-ju’s literature consists in training by making efforts and the artificial beauty of form. These were attained by ranging over literary styles of similar schools extensively and thereby taking advantages of them and actively making use of them. Many anthologies that he achieved have values as tools to train and polish literarily. This, of course, is due to his editorial personality but it is formulated as part of methodology to penetrate the essentials and master them. Because of this, his methodology was evaluated as unique by other fine writers. And Kim Seok-ju’s strong points become more noticeable in the areas that require technical trick such as the highest-level state examination. While he was making preparations for the state examination, he seems to have mastered this methodology.

Kim Seok-ju is referred to as a typical prose writer in the 17th century, and his reputation is proved by a large number of the appeals and answers to the King he left. And Kim Seok-ju’s appeals and answers to the King were selected by many anthologies and became examples for fine writers in posterity. There were more political disputes than ever during 23 years when he was in high-ranking government positions. Seven volumes of his posthumous works are filled with prose of appeals to the King and this is related to the fact that he lived under such circumstances. In the process of revealing his thoughts to the King, the recipient of his appeals, all his literary capabilities were mobilized.

Kim Seok-ju was also very good at the answers to the King. The last stage in the civil service literary state examinations is the answers to the King in which 33 test-takers are competing. As discussed in the previous chapters, he made preparations for the highest level civil service state examinations thoroughly and became an authority in this field. And in this process, he mastered the unique literary style. And it is possible to see these facts through the quantity and the level of the answers to the King left in his posthumous works. Three simulated writings that he wrote as preparation for the answers to the King examination, four jeonchaek and seven jipchaek written on the actual examination site follow the predetermined formality of daechaek and reached the level of unique maturity in setting forth aspirations and rhetoric.