송강 정철(1536～1593)은 조선시대 중기에 가장 활발한 활동을 한 위정자이자 문인이기도 하다.당시의 시대상황은 사화(1544)와 당쟁,그리고 임란(1592)등으로 혼란했던 시대였다.정철은 이러한 사회상을 배경으로 처절했던 삶의 체험을 대자연의 관계 속에서 형상화 내어 독창적인 창작세계를 구축해 많은 작품을 남겼다.본고는 송강 한시의 자연관의 연구의 일면으로 그의 삶의 체험에 의한 사상과 감정의 주관적인 세계가 자연물에 대한 객관적인 대상의 실경보다 그의 주관적인 심회에 치중하여 시적 형상화한 심미적 특징을 검토하였다.그의 한시에 나타난 자연물 중에 운과 월,강과 산,꽃과 나무,새 등이 주요 소재로 다루어졌다.연군의 상징적 의미로 시적 형상화된 자연물은 달,산(봉래산․종남산),물(한강)이며,연군을 향한 충정의 상징된 시어는 해와 학,그리고 매화가 표현되었다.벗과의 별리의 상징의 자연물은 대나무․소나무․연꽃에서 나타난다.송강의 은거의 처지가 상징된 자연물은 백운․벽운 등의 구름과 매화․난초․국화의 꽃과 학․갈매기․기러기 등의 새,그리고 대나무․소나무․잣나무 등의 나무에서 우국충정과 송강의 깊은 심회에 대한 외로운 신하의 애절한 정을 표현하고 있었다.한시에 나타난 자연물들은 대부분이 직관에 의한 즉흥즉사로 표현한 것이 많았다.이는 대자연의 관계에서 객관적인 대상보다 주관적인 심회가 유정화된 창작특징으로 나타났다.당대 문학창작의 조탁의 진통을 통한 단아완숙한 창작세계와는 다른 독특한 한시세계의 특질과 의의가 있다는 것을 파악하게 되었다.따라서 송강의 한시는 조탁되지 않은 즉흥즉사의 창작세계였지만 그만의 진면목이 그대로 표출되는 역동적인 기운생동의 미적특질을 지닌 독특한 창작세계로 이후 국문시가의 창작에 지대한 영향을 주었다고 본다.

Song-gang(1536～1593), as Jeong-cheol by real name, was a man of letters and administrator who worked more actively than any other in the middle period of Chosun Dynasty. Under those circumstances, by scholar-massacre(1544), intra-party conflicts and Im-jin Japanese infiltration(1592), it was thrown into extremely confusional age. With these social backgrounds Jeong-cheol left a lot of his literary works behind by means of constructing his original creative poetry world with the embodiment of his heartbreaking experience of life in the relationship between man and nature. This study aims to review carefully his aesthetic keynote poetically embodied by concentrating his own thought and feeling from his life experience on his subjective envisagement more than the entity of objective thing of a natural object as an aspect of studying for a view of nature in Song-gang's Chinese poems. Of all his natural objects expressed in Chinese poems, the moon with clouds, rivers and mountains, flowers, trees and birds were treated main literary motifs. The natural object as the symbolic poetic metaphor of yearning for his king of lord was embodied as the moon and mountains (Bongnae-san, Jongnam-san) and waters (the Han-Gang). And the poetic words of loyalty toward his king of lord were symbolized in the expression of the sea, a crane, and an apricot blossom. As a parting symbol of natural objects from the bosom friends were easily found in a bamboo, a pine tree, a lotus blossom. Moreover his retire to hermitage in the mountain were also found in the white clouds and green clouds and the flowers of an apricot tree, an orchid, a chrysanthemum and the birds of a crane, a pigeon and a wild goose, and further, the trees of a bamboo, a pine and a cone pine with his deep sense of worrying the nation expressed as a lonesome vassal's pathetic feeling. Most of his natural objects expressed in Chinese poems were expressed by intuition as a pointing-an-enthusiastic-thing-means-a-poetic-matter way. In this sense, in the relationship between man and nature, his subjective envisagement appeared as sympathetic creative writing feature more than the entity of objective thing of a natural object. Thus, Song-gang's Chinese poems was a creative writing world of a pointing-a-thing-means-a-poetic-matter way without any carving and polishing, but all of them seemed to reveal his true character as-it-is base and as a unique world of creative literature with a dynamic and aesthetic property with high-spirited vitality, Song-gang's Chinese poems have exerted enormous influence on the creative works of Korean poetry.

Ⅰ. 序論
Ⅱ. 松江의 文學的 背景
Ⅲ. 松江의 漢詩와 自然
1. 松江 漢詩의 槪觀
2. 松江 漢詩에 나타난 自然
Ⅳ. 結論

• 金廷珉(중앙대 국어국문과) | Kim, Jeong-min