伴鷗翁 申墀의 <永言十二章> 一考-시상의 전환 양상을 중심으로-

초록

This study examines Sin Ji's “Yeongeonsipijang” and focuses on the poetic concept shift pattern. Results indicate that the poetic shift in this work uses the concept of convergence instead of diffusion. This can be understood more comprehensively by examining the use of Sa (scholar) instead of Daebu (great man) when describing the characteristics of Sa-Daebu (nobility). While Sa is self-disciplined, causing the external space and time to converge inwards, Daebu resembles the diffusion model in which the person lives in nature, reads, and practices self-discipline, and converts the outcomes into a governing person, in effect, practicing Neo-Confucian philosophy. In the 18th century, scholars in Seoul influenced popular sentiment using their wealth, and accepted and enjoyed the poem “Sijo” as a new experience or an artistic lifestyle. During this time, the rural scholars, facing the challenge of entering the central political arena, adhered to and promoted the ideological tradition of Sadaebu Sijo (nobility's poetry) in a bid to endorse “Sijo.” Presumably, they created works of the traditional stanzaic Sijo as they considered it the only means of establishing their identity as scholars and correcting the village's order. The patterns of poetic concepts used in “Yeongeonsipijang,” a work created in this sociopolitical situation, were classified into spatial and temporal types. Of the 12 pieces within this text, the poetic concept in 9 pieces were identified as spatial, and the remaining 3 pieces were identified as temporal, suggesting that, given the situations created in the poem, the spatiality, rather than the temporal features, can be further strengthened. On its own, “Yeongeonsipijang” is not regarded as a great work in terms of expression and rhetoric. However, its use of an 18th century village as the time and space factors and the author as a member of the rural scholar group constitutes a poetic concept shift that can be summed up as convergence.

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