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Hong Manjong on
Appended Corrections (Compendium of Remarks on Poetry)
Entry Text
天使祈順。奉詔來也。徐四佳居正為遠接使。一日祈順。遊漢江濟川亭。四佳先唱。風月不隨黃鶴去。烟波長送白鷗來之句。有若挑戰者。天使卽次曰。百濟地形臨水盡。五臺泉脉自天來。回顧四佳曰。是否。四佳色沮。先輩以先交脚後仆地為譏。蓋烟波之句。只咏景物。着處可用,百濟之句。漢江形勢,模得眞狀。祈以中華之人。足未會到。而領略山川。輪入一句。立談之間。造語絕特宜乎。四佳之膽落也。余甞與諸文士論詩。余曰。四佳此句。全用中菴蔡洪哲詩一聯。而只改相逐二宇。為長送。可發一哂。諸人皆駭然曰。四佳。國朝之大家。豈如是剽竊他人全句乎。必是中菴踏襲四佳。而用之矣。余曰。中菴卽麗朝人。此詩乃月影臺所賦。而。明載於東文選。則蔡用徐作耶。徐用蔡作耶。且東文選。卽四佳受命所撰者也。眼目宜慣。欲竪天使之降幡。故為取用爾。諸人始乃釋然。蓋後世之傳誦此句者。皆稱四佳之作。不知中菴之為本主。余自笑曰。中菴不幸遇四佳。而沒其警語。又幸遇余而辨其主客。若使中菴有知於九原。必當鼓掌稱快矣
When the imperial envoy Qi Shun came, Sŏ Kŏjŏng served as a Welcoming Official (wŏnjŏpsa). One day, when they were visiting Chech’ŏn Pavilion by the Han River, Sŏ first composed the following lines, 風月不隨黃鶴去煙波長送白鷗來 Wind and moon do not follow and leave with yellow cranes.Mists and waves always call for white gulls to come. as if to challenge Qi. The envoy then immediately matched the lines, 百濟地形臨水盡五臺泉脉自天來 Paekche’s terrain overlooks the river.Odae’s fountainhead flows from Heaven.He turned to Sŏ, asking, “Am I right or not?” Sŏ was demoralized. My predecessors mocked Sŏ, saying, “Sŏ tripped him up first but next he fell to the ground.” Perhaps it is because while Sŏ’s line “Mists and waves ...” is simply descriptive of the landscape that can be used anywhere, Qi’s line “Paekche’s terrain ...” captures the true vista of the Han River. Qi, a Chinese, who had not visited the site before, appreciated the landscape and depicted it in one line. Within a very short time, Qi phrased (choŏ) an exceptional expression, and this surely alarmed Sŏ. Once I was discussing poetry with fellow literati. I commented, “These two lines by Sŏ drew on a couplet in a poem by Ch’ae Hongch’ŏl. Sŏ only changed two words, ‘chase each other’ 相逐’ with ‘always call for’ 長送, and for this, he deserves a jeer.”Everyone was shocked, saying, “Sŏ is a master poet (taega) of our country. How could he have completely plagiarized someone else’s lines like that? It must be Ch’ae who slavishly plagiarized (p’yojŏl) Sŏ’s lines and used them in his poem.” I replied, “Ch’ae was a person from the Koryŏ dynasty. His poem ‘Wŏryŏng Terrace’ 月影臺 is clearly recorded in the Tongmunsŏn (Anthology of Eastern Literature). Is it Ch’ae who copied Sŏ’s poem, or Sŏ who copied Ch’ae’s poem? Moreover, the Tongmunsŏn was compiled by Sŏ on official order. Sŏ’s ears and eyes must have been familiar with the poem. Sŏ must have used them because wished to see the envoy raise the flag in defeat. Everyone finally understood what had happened. Those who came later and transmitted these lines attribute them to Sŏ and did not know Ch’ae was the original author. I laughed to myself, saying, “Ch’ae was unfortunate to have met Sŏ and lost his own striking expression (kyŏngŏ), but he is fortunate to have met me who illuminates the poem’s author and plagiarist. If Ch’ae learns about this in the Nine Springs, he would clap his hands in joy, saying, ‘How satisfying!’”
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