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E806
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Im Pang on
Casual Records by Such’on (Compendium of Remarks on Poetry)
Entry Text
余以臆見妄論勝國與本朝之詩曰。麗代之雋者。如朴小華寅亮之丰亮。郭眞靜與之玄闃。金文烈富軾之矯健。林西河椿之奔放。金老峰克己之醞藉。李銀臺仁老之要妙。兪文安升旦之巧密。吳玄靜世才之枯梗。陳翰林澕之流麗。金英憲之岱之騰踔。洪舍人侃之濃麗。李稼亭穀之醇厚。鄭雪谷誧之懴美。偰近思遜之哀抗。李樵隱仁復之詳穩。鄭圓齋樞之平鋪。金惕若九容之苦夐。李牧隱穡之渾博。鄭圃隱夢周之豪暢。李遁村集之安寂。李陶隱崇仁之淸鍊。元文定松壽之冲確。各造其妙。而至於色韻之精雅。當以李齋齊賢為宗。聲律之淸新。當以鄭司諫知常為主。氣力之雄壯。當以李文順奎報為冠。本朝之尤者。如三峯道傳之凌厲。姜通亭淮伯之開燁。李雙梅詹之榮茂。卞春亭季良之練達。徐四佳居正之贍大。李三灘承召之妥適。姜晋山希孟之蒼老。金佔畢宗直之勁傑。金梅月時習之神邈。南秋江孝溫之激烈。李忘軒胄之高華。鄭虛菴希良之炯邃。李容齋荇之圓渾。朴訥齋祥之感慨。金慕齋安國之核激。金冲菴淨之簡峻。奇服齋遵之悲婉。蘇陽谷世讓之舒泰。鄭湖陰士龍之錬悍。申企齋光漢之葩秀。林石川億齢之飛動。鄭林塘惟吉之夷曠。李退溪滉之純靜。盧蘇齋守愼之淵宏。朴思菴淳之艷潔。李栗谷珥之通明。成牛溪渾之雅正。宋龜峰翼弼之眞活。黃芝川廷彧之典特。李鵞溪山海之姸媚。鄭松江澈之遒緊。高霽峰敬命之穠富。許荷谷篈之超敏。林白湖悌之爽快。崔孤竹慶昌之淸淑。白玉峰光勳之瘦朗。李蓀谷達之孤絕。崔簡易岦之沈健。李月沙廷龜之和遠。申象村欽之粹潤。李五峰好閔之穎脫。李芝峰睟光之溫淡。車五山天輅之轟浩李體素春英之驁宕。李東岳安訥之混雄。洪鶴谷瑞鳳之警策。金清陰尙憲之恬整。張谿谷維之鬯達。李觀海敏求之閑嚝。李澤堂植之淸緊。李白洲明漢之豪逸。各臻其極。而至於調格之卓邁。當以朴挹翠軒誾為主。情境之諧和。當以權石洲韠為宗體制之奇拔。當以鄭東溟斗卿為冠。余欲以企齋敵司諫。石洲敵益齋。東溟敵文順。具眼者。以為如何。
My ignorant discussion of the poetry of Koryŏ and Chosŏn dynasties is as follows. The outstanding poets of the Koryŏ dynasty are: Pak Illyang for richness and brightness (p’ungnyang), Kwak Yŏ 郭輿 (1058–1130; sobriquet Chinjŏng [True Tranquility]) for mysterious quietness (hyŏngyŏk), Kim Pusik for strength and vigor (kyogŏn), Im Ch’un for untrammelled boldness (punbang), Kim Kŭkki for smooth savoriness (onja), Yi Illo for subtle wondrousness (yomyo), Yu Sŭngdan for fine attention to detail (kyomil), O Sejae for dry hardiness (kogyŏng), Chin Hwa for flowing beauty (yuryŏ), Kim Chidae 金之岱 (1190–1266) for soaring and leaping spirit (tŭngch’o), Hong Kan for intense beauty (nongnyŏ), Yi Kok for mellowness (sunhu), Chŏng Po for delicate beauty (sŏmmi), Sŏl Son for sorrowful and defiant spirit (aehang), Yi Inbok for composed firmness (sang’on), Chŏng Ch’u for spacious openness (p’yŏngp’o), Kim Kuyong for bitter remoteness (kohyŏng), Yi Saek for simple profundity (honbak), Chŏng Mongju for bold smoothness (hoch’ang), Yi Chip for peaceful stillness (anjŏk), Yi Sungin for refinement (chŏngnyŏn), and Wŏn Songsu 元松壽 (1324–1366) for depth and firmness (chunghwak). Each created his own wonder. But as for the refinement and elegance (chŏnga) of color and sound, Yi Chehyŏn should be the patriarch. As for the clarity and originality (ch’ŏngsin) of poetic tones and rules (sŏngnyul), Chŏng Chisang should be the master. As for the robustness (ungjang) of vigor (kiryŏk), Yi Kyubo should win the first place. The outstanding poets of our dynasty are: Chŏng Tojŏn for swiftness and fierceness (nŭngnyŏ), Kang Hoebaek for openness and brightness (kaeyŏp), Yi Ch’ŏm for luxuriance (yŏngmu), Pyŏn Kyeryang for skillful mastery (yŏndal), Sŏ Kŏjŏng for abundance and greatness (sŏmdae), Yi Sŭngso for properness (t’ajŏk), Kang Hŭimaeng for agedness (ch’angno), Kim Chongjik for vigorous heroism (kyŏnggŏl), Kim Sisŭp for spiritual distance (sinmak), Nam Hyoon for intensity (kyŏngnyŏl), Yi Chu for lofty extravagance (kohwa), Chŏng Hŭiryang for clear profundity (hyŏngsu), Yi Haeng for mellow fullness (wŏnhon), Pak Sang for stirring emotions (kamgae), Kim An’guk for heart-rousing quality (haekkyŏk), Kim Chŏng for solemnity (kanjun), Ki Chun for sorrowful gracefulness (piwan), So Seyang for calm peace (sŏt’ae), Chŏng Saryong for refined boldness (yŏnhan), Sin Kwanghan for floweriness (p’asu), Im Ŏngnyŏng for swift movement (pidong), Chŏng Yugil for expansiveness (igwang), Yi Hwang for purity (sunjŏng), No Susin for extensiveness (yŏngoeng), Pak Sun for masterful ornateness (yŏmgŏl), Yi I for illuminating quality (t’ongmyŏng), Sŏng Hon for elegant uprightness (ajŏng), Song Ikp’il for verisimilitude (chinhwal), Hwang Chŏnguk for his use of unique references (chŏnt’ŭk), Yi Sanhae for beauty and charm (yŏnmi), Chŏng Ch’ŏl for vigor and conciseness (ch’ugin), Ko Kyŏngmyŏng for resplendence (nongbu), Hŏ Pong for superb nimbleness (ch’omin), Im Che for refreshingness, Ch’oe Kyŏngch’ang for limpidness (ch’ŏngsuk), Paek Kwanghun for leanness and clarity (surang), Yi Tal for exceptionality (kojŏl), Ch’oe Rip for depth and robustness (ch’imgŏn), Yi Chŏnggwi for lasting harmony (hwawŏn), Sin Hŭm for fine smoothness (suyun), Yi Homin for ingenuity (yŏngt’al), Yi Sugwang for gentle mildness (ondam), Ch’a Ch’ŏllo for rumbling and rushing action (koengho), Yi Ch’unyŏng for unconventionality (ot’ang), Yi Annul for confused yet firm quality (honhwak), Hong Sŏbong 洪瑞鳳 (1572–1645) for startling expressions (kyŏngch’aek), Kim Sanghŏn 金尙憲 (1570–1652) for quiet orderliness (yŏmjŏng), Chang Yu for eloquence (ch’angdal), Yi Min’gu for idleness (han’gwang), Yi Sik for refined density (chŏnggin), Yi Myŏnghan for unrestrained freedom (hoil).Each reached the highest standard in his own way. But as for making great strides in style (chogyŏk), Pak Ŭn should be the master. As for harmonious blending of emotion and scenery (chŏnggyŏng), Kwŏn P’il should be the patriarch. As for unique style (ch’eje), Chŏng Tugyŏng should win the first place. Sin Kwanghan rivaled Chŏng Chisang, Kwŏn P’il rivaled Yi Chehyŏn, and Chŏng Tugyŏng rivaled Yi Kyubo. Those with discerning eyes, what do you think?
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