蘭雪軒·梅窓·玉峰 漢詩 比較 硏究

• 영문명: The Study on Nan-Sul Hun , Mea Chang , and Ok-Bong s Chinese Poetry with Comprative method
• 발행기관: 동방한문학회
• 저자명: 최세정
• 간행물 정보: 『동방한문학』제2호, 270~320쪽, 전체 51쪽
• 주제분류: 인문학 > 문학
• 파일형태: PDF
• 발행일자: 1983.12.30

영문 초록

The Object of this manuscript is the following. I try to find out literary Peculiarity-which is hidden behind generall a mode of grudge, heart burning-in the field of poetry of each poetess, to observe difference in literary contens, transfiguration aspect caused by distinction of creation environment with disparity in social standing, to bring Ok-Bong(玉峯) s poetry space into relief in the stream of woman literary of Yi Dynasty(李朝), and to define afresh the value woman literary that is apt to be treated carelessly. 1. A stern social standing sistem made the woman of the Yi Dynasty unfixed doubly not only personally but social, so endurance and self-scrifice were the only of their life. Therefor Korean regret lay deep in their heart. 2. Nan-Sul-Hun (蘭雪軒) is selected for a person of high-born, Mea-Chang (梅窓) for a keesaeng, and Ok-Bong for a concubine, so making literary feature is influnced much by the fact what class of people, with whom the woman associated, they were. 3. In poetry form, poetesses had a tendency to use most a short Chinese quatrain, and a quatrain with seven chinese characters in each line more than five. 4. The change aspect of the tone in poetry object is the following. Nan-Sul-Hun is on the stage of contemplation and a feeling of love in Nature→realistic regret and grudge stage→translation of affection to another person→subliming to fairy dimension pursuing of Ideal. Mea-Chang is on the stage of realistic grudge (parting, solitary, longing) →contemplation and resignation to nature→to fairy dimention. Ok-Bong is on the step of life within in the limit of husband→grudge from fitting herself to reality→calm contemplation to the nature. 5. The method of Tsuk-Gee (仄起) is somewhat superior in composition technics of chinese poetry. And they made favorite use of a quatrain with seven chinese characters in each line. An affix, seasonable language, and colorful language in poetic diction of the poetesses show me a fresh, tackful aspect in which is delicate sence. 6. Although they made a chinese poetry mainly expression way should be critisized as a model lyric poets of the Yi-Dynasty, who connected traditional literature of grudge, produced from ancient poetry, with modern.

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