174
ВестникЦентракорейскогоязыкаикультуры. Выпуск11
Does not know how to land,
Havingbroken and grabbed
Thewillowby the road, the flower by the fence
Doesn’t hewander around, moved by the springmoods?
In these lineswemayfind traditionalmetaphors ofChinese literature.
芄篳蓄聽
sangye-yamok
“a mountain pheasant, a wild goose” — is a
metaphor standing for a male— a dynamic image associated with being
on the road.
罫群蟤贪
royu-janghwa
“awillowby the road, aflower by the
fence”— isametaphorstanding fora female, it ischaracterizedasstaticand
is associatedwith standingby the road.Therefore, thebeloved is free inhis
motion, and, probably, indecision-making.Besides, thewomandepictsher
dependenceonherbelovedwho“broke”herwillingly.Mentioningapheasant
and awild goose is a hint that theman is an official. In “Shih-king”
营篏G
apheasant takes part in a situation similarwith that of “Sangsa-byeolgok”:
«the frightenedpheasantflewaway lazilymovinghiswings.My senior left
me—whatasuffering isourseparation»
21
.Also inancientChina theclothes
ofcivilianofficialsweredecoratedbypheasant andwild-gooseembroidery.
These birds served symbols of official range distinction, and later became
metaphors of an official in literature
22
.
The following conclusion may be made from the above. The image
systemof the textdemonstratesunitywith thepoemcontents.Theseparation
of the femalenarratorwithherbeloved results inadisplacementof traditional
interrelations, and this is expressed in the poem as a displacement of
traditional associations and allusions. Itmay alsobe interpreted as another
opposition: theoppositionof the traditional “symbol structure”and itsbreak
in thenarrator’sperceptionwhich iscausedby theseparationcircumstances
discovered in the contents.
The image system of the poem is also characterized by the usage
of literary modes, i. e. repetitions, oppositions, parallels and metaphors
mentioned above. The affluence of literarymodes forms a special kind of
lyric serving a specific feature of the “Sangsa-byeolgok” poem. But this is
the subject that serves a special attention and is tobe dealt separately.
21
WilliamsK.A.
EntsiklopediyaKitaiskihsimvolov (ChinesesymbolsEncyclopedia).
Moscow. 2001. P. 363/
22
SychyovL.,SychyovV
.Kitaiskiikostyum.Symvolika. Istoriya.Traktovkav literature
I iskusstve. (Chinese costume. Symbols. History. Interpretation in Literature andArt).
Academy of Sciences of the USSR. Institute for Oriental Studies. “Nauka”. Moscow.
1975.
