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E832
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Im Pang on
Casual Records by Such’on (Compendium of Remarks on Poetry)
Entry Text
昏朝時。號為能詩者。不過柳夢寅。許筠。朴鼎吉數人而已。柳文固奇。而詩不如文。筠才固不可及。而詩格亦不至甚高下於兄姊。宮詞。百首。可謂奇妙。而韻響則未盡合於本體。鼎吉則。哀金應河。絕。壓卷。而此外別無可稱者。至若朴燁則不是作者。而如歌低琴苦別離難等句。近於絕調。或云。得詩魔云。然百體俱備。妙解旁通。雖盛代。無出筠右者
During the reign of King Kwanghaegun, there were only a few people who were considered to be good at poetry, namely, Yu Mongin, Hŏ Kyun, and Pak Chŏnggil 朴鼎吉 (1583–1623). Yu’s writing was certainly unique (ki), but his poetry was not as good as his prose. Hŏ’s talent was surely unmatched, but the style of his poetry (sigyŏk) was not very high, lower than that of his brother and sister. His one hundred “Palace Poems” 宮詞 can be deemed unique and ingenious (kimyo), but the rhymes do not fully match with the main poetic text. Pak’s quatrain “Mourning Kim Ŭngha” 哀金應河 is a masterpiece, but he had not written anything praiseworthy besides that poem. Although not a writer, a few lines by Pak Yŏp 朴燁 (1570–1623), such as, 歌低琴苦別離難 Disheartening song. Painful tune of zither. To part is too difficult. came close to a poetic masterpiece (chŏlcho). Some say he had the help of a poetry demon. Yet, concerning the mastery of all styles (ch’e), ingenious ideas (myohae) and wide dissemination, none could surpass Hŏ.
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