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Master Toegye Yi Hwang is scholar of Seonglihak (Chutzu Doctrine) in mid Yi Dynasty and established grand scholary accomplishment ranking as Chutzu of the East. This is establishing Seonglihak from Chutzu Doctrine of Sung Empire and put Toegye Doctrine on the solid foundation, Emphasizing scholary works of Master Yi Hwang raises misunderstanding that his scholarly side is hidden by his literary side. But it is not so by all means.
He said he endeavored in poem writing and this shows that he treated poetry in depth. This shows that he used poetry as means of practicing ideology of Seonglihak.
His poems and literary works overflow with delicacy of suavity, elegance, harmony and simplicity. He saw poem writing and personality in apposition since it is the man who spoils the poem and not the poem that spoils the man. Thus he recognized the dignity of the poem. Here, we can get a peep at his basic view of poetry. He unfolded the abundant world of maehwa(梅花) so as to refer his maehwa(梅花) poems as compilation of maehwa(梅花) poems in Korean literary idea. Namely, he created not colorful but profound in meaning and serene and resolute world of maehwa(梅花) harmonizing Tao Yenming transcending from secular world and Tu Bo placing profound meaning on every character. From his maehwa(梅花) poems, we could sneak preview of his attitude of training by cultivating tao and virtue to lay stress on rearing and defending stillness.
He neither showed favoritism on wild maehwa(梅花) nor disparage garden maehwa(梅花). He looks at the temper of maehwa(梅花) at more significant viewpoint than the growth environment of maehwa(梅花). He took pity on maehwa(梅花) which shared pain and pleasure of his. You could know how he loved maehwa(梅花) severely from the fact that he compiled a separate anthology of meahwa(梅花) poems. In this maehwa(梅花) poem anthology, he personally wrote in semi-cursive/cursive style the 62 titles and 91 poems. However he could not pick up all the maehwa(梅花) poems out of his 2,000 poems. As a result of reviewing his anthology, 10 titles and 13 poems of maewha(梅花) poems are found in addition. With these together, his maehwa(梅花) poems reach total 72 titles and 104 poems.
Such a prolific writer of maehwa(梅花) poems is difficult to find other than Lu Yu (1125-1209) and Hsiao Sih (1036-1101) of China. He developed special interest in maehwa(梅花) in his 60s, and cultivated maehwa(梅花) and went through a rich experience in
maehwa(梅花), and his maehwa(梅花) poems are production of such experience. His works has characteristic of dignities of simplicity and cleanliness. They show his otium cum dignitate and Taoist view point of the spiritual world of things/self unification in his old age and contain richly the temper of the natural character of net good and no evil.
He said he endeavored in poem writing and this shows that he treated poetry in depth. This shows that he used poetry as means of practicing ideology of Seonglihak.
His poems and literary works overflow with delicacy of suavity, elegance, harmony and simplicity. He saw poem writing and personality in apposition since it is the man who spoils the poem and not the poem that spoils the man. Thus he recognized the dignity of the poem. Here, we can get a peep at his basic view of poetry. He unfolded the abundant world of maehwa(梅花) so as to refer his maehwa(梅花) poems as compilation of maehwa(梅花) poems in Korean literary idea. Namely, he created not colorful but profound in meaning and serene and resolute world of maehwa(梅花) harmonizing Tao Yenming transcending from secular world and Tu Bo placing profound meaning on every character. From his maehwa(梅花) poems, we could sneak preview of his attitude of training by cultivating tao and virtue to lay stress on rearing and defending stillness.
He neither showed favoritism on wild maehwa(梅花) nor disparage garden maehwa(梅花). He looks at the temper of maehwa(梅花) at more significant viewpoint than the growth environment of maehwa(梅花). He took pity on maehwa(梅花) which shared pain and pleasure of his. You could know how he loved maehwa(梅花) severely from the fact that he compiled a separate anthology of meahwa(梅花) poems. In this maehwa(梅花) poem anthology, he personally wrote in semi-cursive/cursive style the 62 titles and 91 poems. However he could not pick up all the maehwa(梅花) poems out of his 2,000 poems. As a result of reviewing his anthology, 10 titles and 13 poems of maewha(梅花) poems are found in addition. With these together, his maehwa(梅花) poems reach total 72 titles and 104 poems.
Such a prolific writer of maehwa(梅花) poems is difficult to find other than Lu Yu (1125-1209) and Hsiao Sih (1036-1101) of China. He developed special interest in maehwa(梅花) in his 60s, and cultivated maehwa(梅花) and went through a rich experience in
maehwa(梅花), and his maehwa(梅花) poems are production of such experience. His works has characteristic of dignities of simplicity and cleanliness. They show his otium cum dignitate and Taoist view point of the spiritual world of things/self unification in his old age and contain richly the temper of the natural character of net good and no evil.
목차
Ⅰ. 序論
Ⅱ. 詩의 世界와 意味
Ⅲ. 結論
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