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E240
Ŏ Sukkwŏn on
A Storyteller’s Miscellany (Compendium of Remarks on Poetry)
Entry Text
嘉靖乙丑。京都人相傳。濟川亭梁木。題近體律詩曰。曾見前朝種李辰。花開一十二回春。夢回華表千年鶴。淚酒靑山一掬塵。楓岸曉鐘神勒寺。煙波晩笛廣陵津。淸秋扣枻驪江去。樓上何人識洞賓。聞者以爲亭梁極高。非詩人所能題。必是鬼詩也。都下喧譁。咸以爲恠。未幾。又云梁詩今無。而書在院壁。尤以爲恠。余辨之曰。所謂梁木題詩。本無是事。只書在院壁。而傳之者誤也。安有曾在梁。而今在壁之理乎。余以此詩。稟於湖陰先生。則曰。詩甚拙俚。且不成章必釋子輩。作此。欲欺一世之目也。
가정 을축년(1505)에 서울 사람들이 서로 전하기를, 제천정의 들보에 근체 율시가 적혀 있다고 하였다 "" 보고 들은 자들이 정자의 들보가 극히 높아서 시인이 시를 제할 수 있는 곳이 아니므로 반드시 귀신이 쓴 시라고 여겼다. 도성 아래가 소란스러우며, 모두 괴이하게 여겼다. 얼마 지나지 않아 또 말하기를, 들보의 시가 이제 없고 글씨는 원의 벽에 있다고 하니, 더욱 괴이하게 여겼다. 내가 분변하여 말하기를, "이른바 들보에 제시했다는 것은 본래 그런 일이 없었고, 다만 원의 벽에 쓰여 있었는데 전하는 자가 잘못한 것이다. 어찌 일찍이 들보에 있었다가 지금은 벽에 있을 수 있겠는가?" 하였다. 내가 이 시를 호음 정사룡 선생에게 보였더니, "시가 심히 졸렬하고 속되며, 또한 장을 이루지 못하였으니, 반드시 불자의 무리가 이것을 지어서 세상 사람들의 눈을 속이려 한 것이다"라고 하였다.
In the ŭlch’uk year of the Jiajing reign (1525; Chungjong 20), a recent style regulated verse written on the ridgepole of Chech’ŏn Pavilion was circulated among the people of Hanyang. The poem reads, 曾見前朝種李辰花開一十二回春夢回華表千年鶴淚灑靑山一掬塵楓岸曉鐘神勒寺烟沙晩笛廣陵津淸秋扣枻驪江去樓上何人識洞賓 In the previous dynasty, I saw the planting of pear trees,whose flowers bloomedfor twelve springs.In a dream, I return to the painted beams,where a thousand-year-old crane perched.I shed my tears over the green mountain,which turned into a handful of dust. On the maple-adorned bank, the bells of dawn tollfrom Sillŭk Temple.At the misty shore, a tune of evening flute rings from Kwangnŭng Ferry.On this clear autumn day, I push the oar to the Yŏ River.From the tower, who would recognize Dongbin.Those who heard the story said, since the pavilion’s ridgepole was extremely high, the poem must have been written by a ghost, as no human could have reached such a height. It caused quite a stir in Hanyang, as everyone found it to be a peculiar occurrence. However, it was soon rumored that the poem was no longer on the ridgepole but had somehow moved to the courtyard wall, which added to the strangeness of the situation.In my opinion, the story of the poem being on the ridgepole is likely untrue. It was most probably written only on the courtyard wall, and those who mentioned it may have made an error. How is it possible that it was on the ridgepole and now is on the wall? When I told Chŏng Saryong about the poem, he said, “The poem is terribly clumsy and vulgar. It is not a mature composition (sŏngjang). It must have been done by some Buddhist monk who wished to trick people’s eyes.”
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