This is a comparative study of "Mt. Jangsu 1," one of Jung Ji Yong's later works that harbors Oriental spirit and two Chinese poems -- "Logging" in 'The Book Of Odes' and "Jiang's Hermit Life" by Du Fu -- which share a similarity in terms of content and form. With respect to form, these poems employ the "Scenery First, Sentiment Later" approach that reflects a touch of ‘a technique of drawing readers into the domain of imagination by fusing scenic portrayal and sentiments’ often found in Chinese classics. Jung Ji Yong and Du Fu had to endure similar conditions of life despite their temporal distance. In Korea annexed by Japan, Jung was unable to express his creative thoughts while Du Fu, unable to advance himself through the government ladder of his time, spent all his life as a wanderer. Unable to either befriend or oppose the colonial Japan, Jung Ji Yong chose to write spiritual poems by resorting to scenic landscape descriptions behind which lay the domain of lofty spirit. That was how he could bypass the pain of his unfortunate realities, rejecting the mundane in favor of the fresh world of spirit. Given their harsh living conditions, both Jung and Du Fu probably had no choice but to pursue a creative life transcending the secular world. Thus the two poets adhered to the purity of their spiritual world -- by exquisitely blending the real and imaginative spheres and by immersing themselves in the merriment of nature. As they both regarded life, death, wealth, glory, and so forth as invincible forces in life, they tried to attain such in the world of poetry. The intent of my article is to show, by pointing to relevant works, how they enbaled other people to seek beauty even amid adverse conditions of life by means of contemplating and reflecting upon things they observed and thus sought esthetic pleasure and consolation denied in their real world.

This is a comparative study of "Mt. Jangsu 1," one of Jung Ji Yong's later works that harbors Oriental spirit and two Chinese poems -- "Logging" in 'The Book Of Odes' and "Jiang's Hermit Life" by Du Fu -- which share a similarity in terms of content and form. With respect to form, these poems employ the "Scenery First, Sentiment Later" approach that reflects a touch of ‘a technique of drawing readers into the domain of imagination by fusing scenic portrayal and sentiments’ often found in Chinese classics. Jung Ji Yong and Du Fu had to endure similar conditions of life despite their temporal distance. In Korea annexed by Japan, Jung was unable to express his creative thoughts while Du Fu, unable to advance himself through the government ladder of his time, spent all his life as a wanderer. Unable to either befriend or oppose the colonial Japan, Jung Ji Yong chose to write spiritual poems by resorting to scenic landscape descriptions behind which lay the domain of lofty spirit. That was how he could bypass the pain of his unfortunate realities, rejecting the mundane in favor of the fresh world of spirit. Given their harsh living conditions, both Jung and Du Fu probably had no choice but to pursue a creative life transcending the secular world. Thus the two poets adhered to the purity of their spiritual world -- by exquisitely blending the real and imaginative spheres and by immersing themselves in the merriment of nature. As they both regarded life, death, wealth, glory, and so forth as invincible forces in life, they tried to attain such in the world of poetry. The intent of my article is to show, by pointing to relevant works, how they enbaled other people to seek beauty even amid adverse conditions of life by means of contemplating and reflecting upon things they observed and thus sought esthetic pleasure and consolation denied in their real world.

, , , , , ,

boundary, emotion, scene, blank space, zen, entering the spirit, spirit and scene