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E590
P016 on
Ŏu’s Miscellaneous Tales (Compendium of Remarks on Poetry)
Entry Text
中國文士。文鑑甚明。朱天使之蕃曰。朝鮮雖小邦。用閣老。必選文章極高者。首閣老柳永慶。文章最高。每見其詩。擊案稱善曰。東方第一文章也。時。領相柳永慶。每令同知崔岦製之。皇華集。以柳永慶爲名者。皆崔岦之詩也。岦嘗與二宰相連名。呈文于遼東。時都御史顧養謙。展帖轎上。引三宰相于前曰。高哉。是誰文章。曰。第二宰相。養謙熟視之。以手指批點于帖上曰。詩文。雖中國。亦罕倫也。余嘗赴天朝時。我國有喪。請免宴。呈禮部。禮部牢却不許。七郞官傳示其文。相顧動色。舌人立于庭。終朝至日昃。而不皂白。只巡觀者三四回。舌人請還其帖。郎官曰。留之部中。其年。鄭經世呈文禮部。郎官稱善。允其請曰。此事甚難。爲使臣文章之佳。特允其請。諸郎官極稱引。仍相與言。此文雖佳。不如前來使臣柳某之文。其文高古倍此。而以事體不當。不准其請。東方信多文章士也。其年。余過永平府萬柳庄。庄卽鴻臚丞李浣之別業也。余題七言律十六韻于紛壁。時。日昏。秉燭而題。一老秀才來觀曰。唉。佳作。佳作。韓御史應庚。李浣之妻弟也。與隣居文士白翰林瑜來觀稱譽。刻板懸之壁。自古。中國文士小我邦人。數百年來。沿路數千里。無一篇我國詩懸于板者。懸板。自我國始。其亦榮矣。余觀題詩萬柳庄者。前後幾百篇。余所題。又非有大異者。而中國文人。獨於此。揭之壁。其文鑑。亦異於我國之文士也。其詩曰。巾我河車指玉京。諸天無際是三淸。朝來失路靑霞逈。物外沾衣白露生。恠石當溪蹲老虎。暗鍾隱郭吼長鯨。茅龍展尾紆淸磵。遼鶴舒翎抗畵甍。翳日凉陰藏小店。拂天高柳滿平坰。臨風裊裊齊垂線。匝地森森亂擢莖。嫩葉正濃紅女織。新枝初暢葆蕤傾。酡顔繫馬尋芳興。玉手攀條惜別情。逕糝白氈飄落絮。門張翠幄擲流鶯。凋霜喙木秋聲急。殘綠寒蜩夕吹輕。萬里三遊人不識。天高地逈我何征。神仙縹緲吾身是。山海微茫上界行。綉闥朱門淸晝掩。寒林衰草暮鴉鳴。風烟淡淡愁山色。歌曲悠悠送水聲。鶴背明朝參北極。鰲頭歸路杳東瀛。烟波夢斷盧龍塞。鄕客應尋舊姓名
중국의 문사들은 문장을 감별하는 안목이 매우 밝다. 천사 주지번이 조선에 와서 말했다. "조선은 비록 작은 나라이지만 각로를 쓸 때에는 반드시 문장이 극히 뛰어난 자를 선택한다. 수석 각로인 유영경은 문장이 가장 뛰어나다. 그의 시를 볼 때마다 책상을 치며 칭찬하며 말하기를, '동방 제일의 문장이다.'라 했다." 그 당시 영의정 유영경이 매번 동지 최립으로 하여금 시를 짓게 하여서, 황화집에 유영경의 이름으로 된 것은 모두 최립의 시이다. 최립이 일찍이 두 재상과 이름을 나란히 하여 요동에 문서를 올렸는데 그때 도어사 고양겸이 가마 위에서 첩을 펼쳐보고 세 재상을 앞으로 불러 말하기를, "훌륭하다. 이것이 누구의 문장인가." 말했다. "둘째 재상의 것입니다." 양겸이 자세히 살펴보고 손가락으로 첩 위에 비점을 찍으며 말했다. "시문이 중국에서도 견줄 이가 드물다." 내가 일찍이 명나라에 갔을 때 우리나라에 상이 있으니 연회를 면제하여 달라고 예부에 올렸는데 예부에서 허락하지 않았다. 일곱 낭관이 그 글을 전해 보고 서로 안색이 변했다. 역관이 뜰에 서서 아침부터 해가 기울 때까지 답을 듣지 못하고, 다만 순찰하며 보는 이들이 서너 번 왔다. 역관이 그 첩을 돌려달라고 청하니 낭관이 말했다. "부중에 보관하겠다." 그해 정경세가 예부에 문서를 올리니 낭관들이 칭찬하면서 그 청을 허락하며 말했다. "이 글이 비록 좋지만 앞서 온 사신 유아무개만 못하다. 그 글은 고아함이 이것의 배나 되었는데 사체가 맞지 않아서 그 청을 허락하지 않았다. 동방에는 참으로 문장가가 많구나."라 하였다. 그해 내가 영평부 만류장을 지나게 되었는데 만류장은 홍려승 이완의 별장이었다. 내가 칠언율 16운을 벽에 써놓았는데 그 때에 날이 어두워서 촛불을 켜고 썼다. 한 노인 수재가 와서 보며 말했다. "아, 좋은 작품이구나. 좋은 작품이구나." 어사 한응경은 이완의 처남으로 이웃에 사는 문사 한림 백유와 함께 와서 칭찬하며 판에 새겨 벽에 걸었다. 예로부터 중국 문사들이 우리나라 사람을 얕보아서, 수백 년 동안 길가 수천 리에 우리나라 시 한 편도 판에 새겨 걸린 것이 없었는데, 판에 거는 것이 나로부터 시작되었으니, 그 또한 영광이다. 내가 만류장에 제시한 것들을 보니 앞뒤로 몇백 편이 되는데, 내가 지은 것도 크게 다른 것이 아닌데도 중국 문인들이 유독 이것만 벽에 게시했으니, 그들의 문장을 감별하는 안목이 우리나라 문사들과는 다른 것이다. 시는 아래와 같다. ""
The Chinese literati had a clear literary judgment. Envoy Zhu Zhifan said, “Although Chosŏn is a small state, in appointing the Chief Minister, they certainly choose someone with exceptional literary talent. Chief State Councilor (yŏngŭijŏng) Yu Yŏnggyŏng’s 柳永慶 (1550–1608) composition is most admired (ch’oego).”Whenever Zhu read Yu’s poem, he struck the table in praise, saying, “A first-rate composition in the East!” At that time, Yu always ordered his colleague Ch’oe Rip to write poems. The poems attributed to Yu found in the Hwanghwa chip were all Ch’oe Rip’s poems. Once Ch’oe composed and cosigned a memorial with two chief ministers and submitted it to the office in Liaodong. Censor-in-Chief (duyushi) Gu Yangqian 顧養謙 (1537–1604) opened the document in his carriage. Pulling the three chief ministers close to him, Gu said, “Superb (ka) indeed! Whose composition is this?” They answered, “It is by Second Chief Minister.” Gu pored over Ch’oe and marked up the text in the air with his finger, saying “A composition of this quality is rare even in China.” Once when I was in China (1609), we submitted a request of exemption from banquet to the Ministry of Rites because of royal mourning back home. The ministry was resolute and would not sign it. Seven Vice Directors (shilang) took turns to read the document. They stared at each other, looking moved. Our interpreter stood in the courtyard from morning till sunset, but there was no reply, except for three-four rounds of inspection. When the interpreter requested that the ministry returns the document, a Vice Director said, “It will stay in the ministry.” That year, Chŏng Kyŏngse 鄭經世 (1563–1633) submitted a document to the Ministry of Rites. The Vice Directors praised his writing and granted his request, saying “This is a very difficult matter, but because his composition is excellent, we specially grant his request.” All Vice Directors spoke greatly of his writing and said to each other, “This composition, although excellent, is not as good as previous envoy Yu’s composition. His was twice as lofty and ancient (kogo), but because the matter was inappropriate, we turned down his request. The East certainly has many writerly officials.” That year I passed by Yongping Prefecture’s Ten Thousand Willow Manor, a villa belonging to Li Huan 李浣 (16th century), an Auxiliary Official in the Office of Foreign Affairs (Honglusi). I composed on its whitewashed wall a seven-character regulated poem with sixteen rhymes. At that moment, the day was getting dark, so I wrote the poem holding a candle. An old scholar came and saw it and said, “Ah! Excellent (ka) poem! Excellent poem!” Censor (yushi) Han Yinggeng 韓應庚 (jinshi 1577), who was Li Huan’s brother-in-law, and neighbor scholar and Hanlin academician Bai Yu 白瑜 (d. 1623) came and saw the poem and praised it, and they engraved it on a plaque and hung it on the wall. Since the ancient time, Chinese scholars have looked down on people from our country. For several hundred years, along the road of several thousand li, not a single poem by our countryman was hung on a plaque. That a poetry plaque in China by our countryman starts with me is my honor. I realized that about several hundred poems were written on Ten Thousand Willow Manor, and what I wrote was not markedly different from them. Yet the Chinese scholars only displayed my poem on the wall. Their literary judgment too is different from that of our countrymen. The poem reads, 巾我河車指玉京諸天無際是三淸朝來失路靑霞迥物外沾衣白露生怪石當溪蹲老虎暗鐘隱郭吼長鯨茅龍展尾紆淸硐遼鶴舒翎抗畫甍翳日涼陰藏小店拂天高柳滿平坰臨風裊裊齊垂線匝地森森亂擢莖嫩葉正濃紅女織新枝初暢葆蕤傾酡顏系馬尋芳興玉手攀條惜別情徑糝白氈飄落絮門張翠幄擲流鶯凋霜啄木秋聲急殘綠寒蜩夕吹輕萬里三游人不識天高地迥我何征神仙縹渺吾身是山海微茫上界行繡闥朱門淸晝掩寒林衰草暮鴉鳴風煙淡淡愁山色歌曲悠悠送水聲鶴背明朝參北極鰲頭歸路杳東瀛煙波夢斷盧龍塞 鄉客應尋舊姓名 Closing the curtain on River Carriage, I head toward the Jade Capital. Heaven is boundless, the realm of the Three Pure Ones. Coming in the morning, I lost my way in the distant blue clouds.Beyond the worldly domain, dampening my robeare rising clear dews. A strange rock facing the stream crouches like a tiger.A hidden bell in a secluded city roars like a whale. The grass dragons stretch their tails and curl up inside the pure cave.Liao’s crane spreads its plumes and perches on the painted beams.The cool shade shrouding the sun covers over village shops.Tall willows swinging in the sky fill up the open outskirts. In the wind they bend, standing straight up.All over the ground they are luxuriant with copious long twigs. Their tender leaves deepening in colorare woven together by young girls.On their new bourgeoning branchestassel flowers hang low. With a face flushed with wine, tying my horse, I search for fragrant elation.Delicate hands break the willow twigs with parting regrets. White felt covers our diverging paths as falling catkins drift.Jade green veils spread over the gate as sweet orioles leap. Woodpeckers on frost-bitten trees rush the sound of autumn.On chilly cicadas amid withering greens, sunset blows gently.These three travelers from thousands of li away people do not know.To the high heavens and far-off landshow will I journey?Gods and immortals drift, and so is my body.Through hazy mountains and seas, I tour the heavenly realm.Embellished doors and vermilion gates are closed during the day.In the cold forest amid withering plants, evening crows sing.The light mist in the air makes the mountain look melancholy.Gently, gently, the songs carry the sound of water. On crane’s shoulders tomorrow morning I will join the North Pole.Atop a sea tortoise and homebound, I will disappear into the eastern world. The dream of misty waters ends at Lulong Fortress.Hometown strangers will ask about my former name.
Knowledge Graph
Geographic Context
Historical Timeline
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