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E726
P020 on
Chongnam’s Assembled Records (Compendium of Remarks on Poetry)
Entry Text
我東文人。毎與華使唱酬。皆用律詩。故如湖陰大手。至於古詩長篇。不能工。唯權石洲深曉古詩體。其忠州石。送胡秀才。等篇。絶佳。殊非東人只事排比之流。近世。東溟鄭君平。杰出一代。掃盡浮靡之習。其所著歌行。雄健俊逸。可方於盛唐諸子。如俠客篇曰。幽州胡馬客。匕首碧於水。荊卿西入咸陽日。待者何人此子是。惜哉不與俱。藏名屠狗家。空對燕山秋月色。時時吹笛落梅花。此等作。求諸唐詩亦罕。評者謂。我國之文。超越前代。可與中國因幷驅者。有二。踈庵之騈儷。東溟之歌行云
우리 동방의 문인들은 매번 중국 사신들과 창화할 때에 모두 율시를 사용하였다. 그러므로 호음 정사룡과 같은 대가도 고시 장편에 있어서는 능하지 못하였다. 오직 석주 권필만이 고시체를 깊이 알았다. 그의 충주석, 호수재를 보내며와 같은 시편들이 절묘하게 좋아서 동방의 사람들 중 단지 배비(排比)만을 일삼는 자들과는 매우 다르다. 근세에 동명 군평 정두경이 한 시대에 걸출하여 부미한 습속을 모두 쓸어버렸다. 그가 지은 가행은 웅건하고 준일하여 가히 성당의 여러 시인들과 견줄 만하다. 그 협객편에, ""라 하였으니, 이와 같은 작품은 당시 가운데서 구하여도 또한 드물 것이다. 평하는 사람들이 말한다. "우리 나라의 문장에 전대를 초월하여 중국 사람과 자웅을 겨룰 수 있는 것이 두 가지가 있으니, 소암 임숙영의 변려문과 정두경의 가행이다."
When exchanging poems with imperial envoys, our literati have always used regulated verses. Even a master poet (taesu) like Chŏng Saryong, when it came to ancient style poems and long verses, was not as competent. Only Kwŏn P’il had a deep understanding of ancient style poetry. His poems, “Ch’ungju Rock” 忠州石and “Seeing off Cultivated Talent Ho” 送胡秀才, are exceptional (chŏlga), unlike other Korean examples that focus only on the flow of parallelism. Lately, Chŏng Tugyŏng 鄭斗卿 (1597–1673; styled Kunp’yŏng; sobriquet Tongmyŏng [East Sea]) stood out among his generation of poets. Having divested himself of the habit of flash and wasteful (pumi) composition, Chŏng composed songs (gexing) which were robust (unggŏn) and carefree (chunil), equalling those by High Tang poets. For example, his “Knight-Errant’s Poem” 俠客篇 reads, 幽州胡馬客匕首碧於水荊卿西入咸陽日待者何人此子是惜哉不與俱藏名屠狗家空對燕山秋月色時時吹笛落梅花 The Turkish horseman from Youzhou, his dagger bluer than the water.The day Jing Ke entered Xianyang in the west,who did Jing wait for? It was he!Alas! The two did not meet.Concealing his name, the knight became a dog butcher. Empty, he meets the autumn moon at Mount Yan, time and again playing the flute amid falling plum petals. A poem of this quality is rare even among Tang poems. Critics have said, “Among our country’s literary works, there are two that have surpassed the accomplishment of the past dynasty and can even stand on a par with Chinese works: namely, Im Sugyŏng’s parallel prose (pianliwen) and Chŏng Tugyŏng’s songs (gexing).”
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