周濟 詞論中의 寄託論 = A Study on Chou Chi's Theory of Allegory
저자
李鍾振 (이화여대 중어중문학전공)
발행기관
학술지명
권호사항
발행연도
1986
작성언어
Korean
KDC
051
자료형태
학술저널
수록면
47-68(22쪽)
제공처
소장기관
Chou Chi(周濟, 1781~1839), a famous theorist on tz'u(詞), heightened the literary standing of tz'u of Ch'ang-Chou School(常州詞派).
His views on tz'u can be seen in "The Prefact to Tz'u-pien(詞辨序)", "Chieh-ts'un-chai lun tz'u tsa-chu(介存齋論詞雜著)", "Sung ssu-chia tz'u hsu-lun(目錄序論)", where the method of studying tzu'(詞學法), the theory of appreciation(鑑賞論), the theory of writing(創作論), the theory of criticism(批評論), etc. are mentioned.
Among them, the theory of allegory is not only Chou Chi's Key point on tz'u theory, but acts as an insistent main idea in his opinions on tz'u.
His theory of allegory is derived from the theory of Pi-hsing(比興說) which Chang Huiyen(張惠言, 1761~1802), the founder of Ch'ang-chou School, suggested to heighten the standing of tz'u theory. Pi and hsing are two elements of six tropes(六義) of Shih-ching, which mean simile and metaphor respectively. Chang Hui-yen's theory of Pi-hsing could be summarized as "external sound corresponding to an internal though(意內言外)". What it means is that though the words in tz'u are easy and shaollow, their implied meanings are very profound. This view, derived from Pragmatic theories on poetry of Han(漢) Confucians who pursued "Subline words with deep meaning(微言大義)", is suggested to explain that love songs also reflect the six tropes of Shih-ching. But the idea of "external sound corresponding to an internal though" bought about a bad custom to fail to appreciate or distort the original meaning of tz'u.
Chou Chi, therefore, suggests the use of allegory by which writers express metaphorically their own virtues and patriotism by singing things of same sorts. But it is very difficult to heighten the literary standing of tz'u only by allegory. So he drew "the vagueness of allegory"(無寄託) out of allegory to be able to explain the emotions differently according to the learning, the status of living and the moral culture of readers. The vagueness of allegory, an action of moving emotions(移情作用) which can be obtained by objectifying the subjective emotions into the objective things that reflect the associations of idea and allegories, is possible only when the allegory is profound. So the theory of allegory, pursuing deeper taste and simpler and honester stage, could be set forth by the vagueness of allegory.
Chou Chi also insists that apprentice writer of tz'u should deliberately work to have an allegorical dimenion(有寄託), and once he has developed his own style, he should deliberately work to dispense with explicit allegory(無寄託). Consequently, discussing the technique of learning to write tz'u, he suggests that the novice should take Wang Yi-Sun(王沂孫) of Southern Sung as a writer to start with, who although wrote allegorically the significance implied in his tz'u could be easily understood, and finally should reach Chou Pang-yen(周邦彦) of Northern Sung who expressed the stage of the vagueness of allegory, via Wu Wen-ying(吳文英) and Hsin Ch'i-chi(辛棄疾) who showed the method of simple allegory.
Because among these four tz'u writers, only Chou Pang-yen was of Northern Sung, we regard Chou Chi's theory of study tz'u as "From South to North"(由南追北論).
Chou Chi presents two styles(風格) : "the clearness(淸?) and "the implication"(含蓄). The former is reflected by the use of allegory, the latter by the vagueness of allegory. The clearness is one of the characteristics of tz'u of Southern Sung, in which the allegory is sparse, while the implication is one of the characteristics of tz'u of Northern Sung, in which the allegory is thorough. If the allegory is thorough, it reveals different feelings and tastes. In other words, the deeper the meaning expressed allegorically is, the more different images it reflected to readers. This is the very stage of the vagueness of allegory. Chou Chi calls this style "the implication" and takes it for ideal style of tz'u.
There are T'an Hsien(譚獻, 1832~1901), Ch'en T'ingch'ao(陳廷?, 1833~1892), K'uang chou-i(況周이, 1859~1926) and Wang Kuo-wei(王國維, 1877~1927) who are influenced by Chou Chi's theory of allegory. T'an Hsien, criticizing tz'u according to whether the allegory deep or not, enhanced Chou Chi's theory. Ch'en T'ing-ch'ao, who suggested the style called "Ch'en Yu(沈鬱)", elaborated the stage of vagueness of allegory, and set emphasis on the merit of the implication. K'uang Chou-I formed a base of the theory of writing called "Hsing-ling(性靈)" which emphasizes the fact that the feelings of one's personal affairs are the objects of allegory, and they are expressed unconsciously being affected by Hsing-ling. Wang Kuo-wei's theory of world(境界說) is also developed from Chou Chi's theory.
In this regard, we can see that Chou Chi's theory of allegory greatly influenced on later theorists on tz'u. Especially, it should be noted that theory of allegory, originally a theory of criticism on tz'u, developed into that of writing and of appreciation.
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