E678
From Poetry Talks
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E675, E676, E677, E678, E679, E680, E681, E682, E683, E684, E685, E686, E687, E688, E689, E690, E691, E692, E693, E694, E695, E696, E697, E698, E699
| Basic Info | |
|---|---|
| Contains | C1226, C1227, C1228, C1229, C1230, C1231, C1232, C1233, C1234, M1302, M1303, M1304, M1305, M1306, M1307, M1308 |
| Mentions Person | Kwŏn Ŭngin, 양경우, 정사룡, 진여의, 조희일, 오융 |
| Mentions Place | 결성 |
| Is Part Of | Cheho’s Remarks on Poetry, Autumn |
| Original Text |
|---|
| 僕嘗得結城。見東上軒壁上有詩板埋沒於塵埃。卽湖陰長律也。頷聯曰。波舂醜石蠔黏甲。日照高梁鷺晒翎。摸出海濱景象。趙學士竹陰。希逸。每誦湖陰峯頂星搖爭缺月。樹顚禽動竄深叢之句。三復嘆美。蓋曉起卽景也。至如山木俱鳴風乍起。江聲忽厲月孤懸。擧世稱之。蓋木葉俱鳴夜雨來。簡齋之詩也。灘響忽高何處雨者。吳融之句也。湖陰上下句取此兩詩之語。而陶鑄之圓轉無欠。或者以月孤懸三字。爲不承上語。可謂癡人前說夢。湖陰警句何限。偶記此數三句而已。 |
| Korean Translation |
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| 내가 일찍이 결성현(結城縣 충남 홍성군 일대의 옛지명)을 맡았을 때 동상헌(東上軒) 벽상(壁上)에서 먼지에 묻혀 있는 시판을 보았는데 그것은 정호음의 장률이었다. 함련(頷聯)에 이르기를,
파도치는 추석에 굴이 껍질 붙였고 / 波舂醜石蠔黏甲 햇볕 어량에는 백로가 날개 말리네 / 日照高梁鷺晒翎 하였으니, 해변의 광경〔景象〕을 모사한 것이다. 죽음(竹陰) 조희일(趙希逸)이 매번 호음이 지은 산마루 별빛은 이지러진 달과 다투고 / 峯頂星搖爭缺月 나무 꼭대기 새는 깊은 숲으로 숨네 / 樹顚禽動竄深叢 라는 구절을 음송하며 자주 탄미하였으니, 대개 새벽에 일어나면 바로 펼쳐졌던 경치이다. 또한, 잠깐 이는 바람에 산 나무 일제히 울고 / 山木俱鳴風乍起 외로이 걸린 달에 강물소리 문득 사납네 / 江聲忽厲月孤懸 라는 시구는 온 세상이 다 칭찬한다. ‘나뭇잎 일제히 우짖자 밤비 내리고〔木葉俱鳴夜雨來〕’는 간재(簡齋)의 시구이고, ‘여울 소리 문득 높으니 어디에서 비 내리는가〔灘響忽高何處雨〕’는 오융(吳融)의 시구이니, 호음의 상하 구는 이 두 시의 말을 취하여 원만하게 잘 빚어내서 흠이 없게 한 것이다. 혹자는 ‘월고현(月孤懸)’ 세 글자가 위의 말을 제대로 잇지 못한다고 하는데, 치인(癡人) 앞에서 꿈을 이야기하는 것이라고 이를 만하다. 호음의 경구(警句)는 한정이 없는데 우연히 이 두세 구절을 기록했을 뿐이다. |
| English Translation |
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| Once when I was in Kyŏlsŏng county, Ch’ungch’ŏng province, I saw on the wall of Tongsang Studio a poetry plaque covered in dust. It was a long regulated poem by Chŏng Saryong. Its third and fourth lines, 波舂醜石蠔黏甲日照高梁鷺晒翎 On ugly rocks pounded by breakers, oyster shells hold fast.In the sorghum field lit with sunshine, egrets dry their wings.describe the scenery (kyŏngsang) of seashore. Every time Academician (haksa) Cho Hŭiil 趙希逸 (1575–1638; sobriquet Chugŭm [Bamboo Shade]) recited a phrase in Chŏng’s poem, 峯頂星搖爭缺月樹顚禽動竄深蕞 The swaying stars above the peaks compete with waning moon.The startled birds on treetops scurry off into deep woods. he repeatedly praised its beauty. The phrase captures a view at daybreak. His phrase, 山木俱鳴風乍起江聲忽厲月孤懸 Mountain trees sing togetherat the sudden gust of wind. River sounds suddenly raceunder the lonely hanging moon. is praised throughout the world. Yet, 木葉俱鳴夜雨來 The leaves on trees sing togetherat the arrival of an evening rain.is found in Chen Yuyi’s poem, and Wu Rong 吳融 (ca. 900) wrote the phrase, 灘響忽高何處雨 Surging waves suddenly boom.Where is the rain? Chŏng combined these two phrases and moulded and melt them flawlessly together to achieve smooth oneness (wŏnjŏn). Some say “the lonely hanging moon” does not go well with the previous line, but that is idiotic nonsense. Chŏng wrote numerous striking verses (kyŏnggu). I happen to record just three examples. Kwŏn Ŭngin studied under Chŏng Saryong. When Chŏng was the Director of the Office of Royal Decrees (taejehak), as a welcoming official he went to greet an imperial envoy by the river and Kwŏn followed as his assistant. Every time Chŏng composed a poem and had trouble arranging the words, he would ask Kwŏn. Kwŏn rearranged the words time and again to Chŏng’s satisfaction and Chŏng deeply acknowledged Kwŏn. Yet when he discussed Kwŏn’s poems, Chŏng disliked his style (kyŏk) and looked down on his works as vulgar (piri). A couplet in a poem Chŏng once presented to Kwŏn said, 痛洗劍南詞爛熟超尋丁卯句淸圓 Painstakingly cleanse away Jiannan, then your words will become fully mature.Above all, seek out Dingmiao, then your phrases will become clear and smooth. Although Kwŏn did not dare to exchange his views with Chŏng, in his heart he also did not approve of Chŏng’s poems. Sometimes, when critiquing the poems of those close to him, Kwŏn often pointed out advice against chisel and hatchet. I heard Chŏng often stated that he perused the Shangyin ji 商隱集 (Collected Works of Li Shangyin) all his life and how, perhaps because of that, his composition method bears resemblance to that of the Xikun School. But, in fact, Chŏng followed [the style of] Su Shi and Huang Tingjian. His poetic style (sigyŏk) was far different from Xu Hun’s style (ch’e), so why did he encourage people to seek Dingmiao? I recently read through Kwŏn’s collection of poems and found that his composition method (kuppŏp) had rounded maturity (wŏnsuk) and rhyming was not stiff (pulgun). As I read, I saw more and more effortlessly written poems. He was like a rich family’s eldest son who unsparingly consumes grains and silks but also has literary talent. A poem he composed to the rhymes of the poem “T’onggun Pavilion” 統軍亭 reads, 天際黑雲橫靺鞨塞西紅日墮陽平 Over the horizon, dark clouds are scattered across the land of Mohe.To the frontier west, a red sun sets over Yangp’yŏng. These are truly the words of a startling expression (kyŏngch’aek). |
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