• (The)Study of the Eastern Classic
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• no.49
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• pp.161-185
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• 2012

This thesis reorganized the life of Mrs. Yun who was a noble woman in the middle of the Joseon period with main material of Seopo, Kim, Man Joong(1637-1692)'s "Seonbijungkyungbuinhaengjang(先?貞敬夫人行狀)" and considered yeosa(女師)'s image of noble woman embodied by her son. Although women who were remarkable in premodern period nurtured their son well and they became excellent, it's easy that the life of their mother can be hidden by sons' shadow. Luckily, materials of Mrs. Yun were kept by her descendants, so people could analogize how she could endure difficulties and how she educate her children. In a word, the life of Mrs. Yun can be yeosa(女師)'s life. She was born as a only daughter of the best ancestry in the period and grown to be a considerable woman with strong will and discipline under the strict training of her grandmother, Junghye Ongju. And then, she married Gwangsan Kimmun, the best literature house of Joseon period, but her husband, Kim, Ik Kyum was died by unexampled difficulty, Byungjahoran. During the tribulation, Mrs. Yun was in charge of not only parents supporting but also two sons' education excellently. She educated not only her children but also grandchildren and nephews around her, so she had extraordinary passion and sincerity for the education. As the result, she enjoyed a glory that two sons and grandchildren became on daejehak. Mrs. Yun was living with thrift and saving continuously regardless of her circumstances. When her granddaughter became inkyungwanghoo who is a wife of sookjong, she didn't kick her common habit and trained strictly the mind of family members who could be easily in disorder. In spite of the richness, he obeyed manners and showed thrift and saving continuously and thoroughly. When there was a crisis in her family, the first son, Kim, Man Ki was died and the second son, Kim, Man Joong and grandson went into exile during the continuous political upheaval. But, she supported her house, obeyed the rules and promised the future. At that time, she continuously encouraged grandchildren and the eldest grandsons of the head family to study without any stop for themselves in spite of the difficulties. Mrs. Yun pursued truly valuable life. She considered that the life which didn't get praised by other people wasn't valid although he or she lived a pleasant life in luck and richness. Mrs. Yun was a true teacher yeosa (女師) who placed a true value on the life enduring hardship and poorness without fear and becoming an example of other people.

• (The)Study of the Eastern Classic
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• no.57
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• pp.331-357
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• 2014

This paper is to examine Okdong Lee Seo's historical view through analyzing Yeokdaega("歷代歌"), Okdong's full-length historical epic. As long as Okdong Lee Seo was a Confucian scholar holding moral cultivation as the highest value, his Yeokdaega is hard to explain separately from the Confucian world view. Okdong's Yeokdaega is a long old-style sino-korean poem consisting of 526 7-syllable verses, yet it considerably differs in structure from other historical epics known so far. Okdong's Yeokdaega consists of two parts: the first narrates Chinese historical facts from the beginning to the fall of Ming dynasty, and the second describes the social irrationality of the time and reveals his strong social criticism. It is very different from an ordinary historical epic piece narrating the orders and disorders and the rise and fall of historical facts. It is thought that Okdong's Yeokdaega was written based on his Confucian historical view. It seems that for Okdong the rise and fall of Chinese historical dynasties did not merely mean historical facts but functioned as a tool explaining the reason for people to persue moral cultivation. Okdong summed up his knowledge of the rise and fall of Chinese historical dynasties, his sharp criticism on social irrationality, and his stimulation about the necessity of moral cultivation, and then created a long 526-verse historical epic Yeokdaega. For the reasons, it is not easy to say that Okdong's Yeokdaega is the result of pure literary activities only for artistry. However, Okdong's Yeokdaega is not inferior to other historical epic pieces written by the time in literary value. Especially, Okdong's Yeokdaega can be said to be more meaningful since it was, over its literary value, not only a tool to strengthen his own study and will but also a educational tool for others around himself.

• (The)Study of the Eastern Classic
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• no.66
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• pp.129-162
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• 2017

This article examines the form of hell and the nature of literary works in the late Joseon period. 'Hoeshimgok(回心曲)' divides a sinner into a man and a woman, and presents a virtue of goodness to a man and an item of evil to a woman. The elements of virtue and malice are both Buddhist ethical norms and Confucian ethical norms. Hell-related novels have common features that emphasize the ethical norms that should be kept in daily life through the causes of hell, though the patterns of punishment and their reasons are slightly different depending on the works. And 'Hoeshimgok(回心曲)' and these works are generally shown by reducing the punishment pixel of hell compared to the cause of hell. This characteristic shows that the literary works of the late Joseon literature related to hell were mainly aimed at providing or educating ethical virtues centered on 'Samgangwol(三綱五倫)' through sanctions of 'Hell' widely known to the general public. The emphasis on Confucian ethics is not limited to works of literature related to hell. In the nineteenth century, when these works were created and circulated, there is a surge in the number of chapters and publications of books for Confucian Indoctrination, Didactic Gasa, and Goodness Books, which emphasize Confucian ethics. Such a strengthening of the Confucian ethical consciousness can be attributed to the crisis of the 19th century Joseon society about the social confusion that threatens the existing system. In particular, the creation and circulation of literary works related to hell in the late Joseon period is related to the dissemination and spread of Catholicism. In the end, the hell shape of the late Joseon literature reflects the crisis of social confusion faced by Joseon society in the nineteenth century. Therefore, it can be said that it has the character of literary response to the prevalent diffusion of Catholicism.

• (The)Study of the Eastern Classic
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• no.57
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• pp.383-406
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• 2014

Mi-Am Yu Hee Choon (1513~1577) considered poetry as a part of his life. Therefore, this writer specifically focused on Mi-Am Yu Hee Choon's Chinese poems. The following is the conclusion from the materials discussed in this article. Mi-Am tried to understand literature in ethical perspective. The number of Chinese poems composed by Mi-Am is estimated to be about 300, and the number of pieces that this writer could find was 285. Also, Mi-Am took poem composition seriously, and put emphasis on content more than structure. Among Go Shi, Yul Shi, and Jul gu, Jul gu (especially Chil Un) is the largest in quantity, and it is presumed that he preferred Chil(seven) Un over Oh(five) Un. With regards to Go Shi, there are relatively many Jeon-Go. With regards to Jul gu, which was a poetry composing structure that Mi-Am could make the best use of, they were mostly about the daily lives. And with regards to Yul Shi, there were many poems that expressed his feelings about the real world and self-examination. Mi-Am's poems can be categorized into ones that he wrote when he was on exile, and ones that he wrote while serving for the king again after he got released from exile. During the exile period, self-discipline through learning, friendship, and love for the people were the main themes of his poems, and after being released and started serving for the king again, his poems were mostly about loyalty to the king, interaction with acquaintances, emotions, ancestor worship, self-examination, and conjugal affection through literary communion. Among Mi-Am's poems, there are many that have Eum Song Cha Un included in their titles, and the mainstream of his poems were related to daily lives or experiences. Also, most of them naturally and calmly expressed the fact itself without exaggerating. Mi-Am considered poetry as a part of his life and the fact that he practiced literary communion with his wife by writing poems about the ordinary things happened between him and his wife, Song Duk Bong, is worthy of notice.

• (The)Study of the Eastern Classic
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• no.34
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• pp.63-88
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• 2009

This paper was a quest of pattern of holding "Dae Hak - the Great Learning" during Joseon Period having investigated the characteristics of the Essentials of the Studies of the Sages(聖學輯要, Seong Hak Jibyo) that was compiled by Lee I was a reinterpretation of the Great Learning, and also academic enrichment. During the period of Joseon Dynasty, the Great Learning had held the most important position as core scripture in the intellectual society that pursued Seong Hak(聖學, sage learning). Throughout the Joseon Period, the Great Learning was the essential text for the Emperorship Learning(帝王學, Jewang Hak) as well as Seong Hak, and it can also be said that Seong Hak Jibyo compiled by Yulgok - the courtesy name of Lee I, was the comprehensive collections thereof. While compiling Seong Hak Jibyo, Yulgok presented a model of Seong Hak of Joseon, which was based on "the Great Learning". Yul Gok organized the system of "Seong Hak Jibyo" largely in five parts, and properly arranged the Three Cardinal Principles(三綱領, samgangryeong) and Eight Articles or Steps(八條目, paljomok) therein. Particularly, in the Chapter Two, "Cultivating Oneself(修己, sugi)", Yulgok deal with 'being able to manifest one's bright virtue'(明明德, myeong myeong deok) among the Three Cardinal Principles as the core curriculum, meanwhile, Yulgok also covered "Investigation of things, gyeongmul(格物)," "Extension of knowledge, chiji(致知)," "Sincerity of the will, Seongui(誠意)," "Rectification of the mind, Jeongshim(正心)," "Cultivation of the personal life, susin(修身)," among Paljomok(eight steps) as the ultimate purpose of 'Stopping in perfect goodness'(止於至善, jieojiseon) These well preserve the principal system of Confucianism where "Cultivating oneself and regulating others (修己治人, sugichiin)" are core value, and his instructions as such also back up academic validity logically by presenting specific guidelines for practice according to each domain. Reinterpretation of "The Great Learning" by Yulgok in Seong Hak Jibyo is an arena to investigate the characteristics of Confucianism in Joseon Period, which was different from that of China, furthermore, such guidelines might take a role as criteria to understand the characteristics of humans and learning possessed by Korean people.

• (The)Study of the Eastern Classic
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• no.69
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• pp.349-371
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• 2017

"Hajaeilgi(荷齋日記)" was written by Ji Gyu-sik, a gongin of Saongwon(司饔院)'s branch, almost everyday for 20 years and 7 months from January 1st, 1891 until the leap month of June 29th, 1911. It deals with many different areas including domestic and foreign circumstances, custom, rituals, all the affairs related to the branch, and also everyday life events he did see or hear about. Particularly, Ji Gyu-sik did not belong to the yangban class, and we can hardly find diaries written by such class' people. Here, what this author pays attention to among the things written in "Hajaeilgi" is the contents about folklore. Ji Gyu-sik wrote in his "Hajaeilgi" about things related to folklore, for example, seasonal customs, folk plays, rituals, or folk beliefs that were actually practiced then as a person not belonging to the yangban class. Such diaries are rare, and its value is highly appreciated as a material, and it is meaningful in the aspects of folklore as well. Therefore, as part of the work to look into folklore found in "Hajaeilgi", this author focuses on national rituals and folk beliefs in it. The things that have been discussed earlier can be summed up as follows: About national rituals, it is sorry that it only deals with the emperor's enthronement and emperor and crown prince's birthday in garye(嘉禮); however, it is meaningful to know that the people faithfully carried out national ceremonies and celebrations then. Particularly, it is noteworthy that during the national ceremonies or celebrations, students were asked to sing the national anthem. About hyungrye(凶禮), only it deals with the court funeral rite. Aside from Minbi's funeral rite, the court funeral rite was performed properly at the right time according to the procedure like before, and also, it seems that the people fulfilled it faithfully by order of the government. Also, it can be learned from it that Japanese killed Minbi, burned the body with oil, and left the ashes behind. About folk beliefs, the branch held a memorial service at the shrine of the town regularly. The town, too, performed Gocheongsinsa each year. The money needed for the memorial service was collected from the town people differently according to their financial situations, and they prepared for jesu for the ancestral rite altogether. The memorial service was carried out in Sansindang or Bugeundang, too, and it was common that they summoned a shaman to perform a gut. The diary is valuable as material. After being a Christian, Ji Gyu-sik once tried to abolish sinsa jesa held in hoesa and get rid of saesin(賽神), that is, a gut or pudakgeori, but he had no choice but to follow the precedent. Meanwhile, it is also noteworthy that when the town suffered from floor and infectious disease, Ji Gyu-sik installed an altar in front of his house for the town's wellbeing and health, prepared for jesu including offerings and drinks, and held a memorial service to Hwangcheonhuto(皇天后土; the gods of heaven and earth) accompanied with the town people. Also, when he had any hardships in his family, Ji Gyu-sik summoned a shaman for a gut or offered a devout prayer to the mountainous god. Such shamanism or the things like worshiping Gwanseongjegun(關聖帝君) mostly in the beginning of January and telling fortunes about the year were all folk beliefs. This was very popular among the people, and it seems that it was deeply rooted in his life as well. Also, Ji Gyu-sik supported Fengshui beliefs, and it seems that it is not different from the people's general tendencies, either. As described above, "Hajaeilgi" dealing with national rituals and folk beliefs in it is valuable as material and is meaningful for research on forklore, and moreover, it is also significant in the aspects of forklore as well.

• (The)Study of the Eastern Classic
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• no.50
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• pp.55-88
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• 2013

Gwonwu Hong Chan-yu is one of the modern and contemporary Korean scholars of Sino-Korean literature and one of the literati of his era, so is respected as a guiding light by academic descendants. Gwonwu was a teacher of his era, who experienced all the turbulence of Korean society, such as the Japanese occupation by force, the Korean War, the military dictatorship, and the struggle for democracy, and who educated and led young scholars of his time. However, academia has not payed attention to his life and achievements since his death. This paper is to examine the poetry of Gwonwu Hong Chan-yu, one of the representative modern and contemporary scholar of Sini-Korean literature, which has not yet been discussed by academia. The minimal meaning of this paper is that it is a first work based on his anthology, which has not been discussed by academia, and a first full-scale study on Gwonwu Hongchan-yu. For the reason, this paper aims at the detailed inspection of his poetic pieces recorded in his anthology. Nonetheless, despite such intentions, some limits cannot be avoided here and there in this paper for the insufficient knowledge and academic capability of this paper's writer and for the lack of academic sources. Gwonwu's poetry examined through his anthology shows the characteristic which is that his poems focus on exposing his own internal emotions. Such a characteristic says that his idea of poetic literature payed attention more to individuality, that is exposition of private emotions, than to social utility of poems. Gwonwu's such an idea of poetic literature can be generally affirmed throughout his poetry. Accordingly, Gwonwu preferred classical Chinese poems to archaistic poems, and single poems to serial poems; and avoided writing poems within social relations such as farewell-poems, bestowal-poems, and mourning-poems. When the characteristics of Gwonwu's poetic literature get summarized as such, however, some questions remain. The preferential question is whether the poems in his anthology are the whole poetry of him. Although Gwonwu's poetic pieces that the writer of this paper have checked out till now are all in his anthology, it is very much questionable whether Gwonwu's poetry can be summed up only with these poems. The next question is what is the writing method for taking joy(spice), sentiment, and full-heart into his poems if Gwonwu's poems focus on exposing his internal emotions, and if poems exposing joy and poems exposing sentiment and full-heart appear coherently in various different spaces and circumstances of writing. The final question is what are the meanings of Gwonwu's poems if his poetry checked out through his anthology directly shows either the reality carried in his poems or the reality of a time in his life. The questions listed above are thought to be resolved by the synchronizing process of stereoscopic searches both for Gwonwu as an individual and for the era of his life. Especially, spurring deeper researches toward a new direction regarding Gwonwu's poetry has an important meaning for construction of a complete modern and contemporary history of Sino-Korean literature and for procurement of continuous research on Sino-Korean literature and its history. For the reason, it is thought that more efforts of researchers are required.