靑蓮 李後白 漢詩에 나타난 두 가지 새로운 경향

Two Kinds of New Tendency in Cheonglyeon Leehoobaek's(靑蓮 李後白) Hansi(漢詩)

In generally, the poetry of Honam' Sarim(湖南士林) in the first half of 16th is time to spare but pursues pure mood. Thereafter about the middle of 16th Cheonglyeon Leehoobaek opens up new poetry in various ways. Specially first, he introduces plentifully pictorial figurations in poetry. That is not practical space but objective descriptions as a piece of picture. He tries pictorial figurations that include the ascending methods, the contrast of intense colours, the contrast of time and space. Those methods are based on the writer's pure lyricism. And as increasing radiation he expresses sentimental solitude, yearning and a state of indecision. In other words he makes intervention subjective emotions in poetry. This tendency expanded by later poets, for instance, Choigyeongchang(崔慶昌), Baekgwanghoon(白光勳). More than anything else noticeable feature in his poetry is wholehearted appearance of women. And that is rewarded with good fruits of Honam literature(湖南文學). In his women's poem, he accepts women's emotion and extends women-teller in <Gyuwonsasiga ; 閨怨四時詞>. In this points, Cheonglyeon leaded a way in the process of the 16th's Hansi. This tendency can be called 'Honam's lyricist group in 16th'. Because they purse pure lyricism by using pictorial figuration and not only to accept women’s emotion but also extends women-teller in poetry. Cheonglyeon Leehoobaek is early poet in Honam’s lyricist group in 16th after Saam Paksoon(思菴 朴淳). And then it can be confirmed Honam's lyricist group from Okbong Baekgwanghoon, Gojook Choigyeoungchang to Baekho Imjae(白湖 林悌) in the latter half of 16th.