이 글은 栢巖 金륵이 광해군대 초기 강릉부사로 좌천되어 있을 때 지은 시집 「임영록」을 중심으로 그의 삶과 심상지리를 밝힌 것이다. 광해군은 즉위 2년인 1610년에 사후 30년이 지난 생모 恭嬪金氏를 추숭하여 慈淑端仁恭聖 王后로 삼고, 그 묘소를 성릉(成陵)으로 부르게 했다. 이에 김륵은 「봉자전추숭후 청정진 하반사계」를 올려 공빈김씨의 별묘추숭이 예법에 어긋남을 논하고, 그것을 감쇄할 것을 주장했다. 김륵은 이 사건으로 인해 1610년 6월에 강릉부사로 좌천되고, 다음해 12월 파직되어 시골로 쫓겨났다. 「임영록」에는 번뇌와 초탈의 극단을 오가는 김륵의 심리가 극명하게 나타난 다. 「임영록」에 드러나는 김륵의 심상은 ① 선경의 동경 ② 불변의 충심 ③ 하소연 ④ 체념으로 범주화 할 수 있다. 이러한 심상은 ‘선계’, ‘매화’, ‘단심’과 ‘눈물’, ‘신선’과 ‘학’ 등의 단어로 대체, 상징되어 표상된다. 선명하게 드러나는 김륵의 심리 변화와 상징은 내·외면의 부조화와 강박적 은유가 반영된 결과이다. 내적 지향과 광해군대 혼란한 정국 사이의 괴리가 남긴 정신적 피로감과 상흔에서 비롯된 김륵의 극단적 심리 변화를 이해할 수 있는 실마리를 ‘지수부’와 ‘차귀거래사’에서 찾을 수 있다. 김륵에게 있어서 ‘지수(止水)’로 상징되는 물은 곧 ‘청정’, ‘수신’, ‘불변’의 심상이었고, 군자의 길을 찾아가는 매개였다. 김륵의 귀거래사에는 영원히 이별하는 단념의 심리가 아닌, 서울에 대한 미련과 귀향에 대한 희망이 교차되어 나타난다.
This study set out to investigate the life and imaginative geography of Baekam Kim Reuk with his collection of poems 「Yimyeongrok」 he wrote when he was demoted to the Busa of Gangreung during the early days of Gwanghaegun``s reign. On the second year of his reign in 1610, Gwanghaegun decided to worship his birth mother Gongbin Kim, who had been dead for 30 years, granted her the title of Queen of Jasukdaningongseong, and gave an order to move her tomb to Seongreung. Kim Reuk submitted 「 Bongjajeonchusunghu Cheongjeongjinhabansagye」 discussing how his decision to worship Gongbin Kim and move her tomb would violated the decorum and insisting on the retraction of his decision. He was subsequently demoted to the Busa of Gangreung in June, 1610 and was dismissed from office and driven to the country in December the next year. His 「Yimyeongrok」 clearly shows his psychology shifting between the extreme ends of agony and transcendence. His mental images in the collection can be categorized into ① his yearning for a fairyland, ② his unchanged loyalty, ③ his complaints, and ④ his resignation. His mental images were replaced, symbolized, or represented in such words as ‘fairyland’, ‘plum blossom’, ‘single-heartedness’, ‘tears’, ‘Taoist hermit with miraculous powers’, and ‘the crane’. The clear manifestation of his psychological changes and symbols was the result of him reflecting the disharmony between his in and outside and his compulsive metaphors. ‘Jisubu’ and ‘Chaguigeoraesa’ offer some clues to understand his extreme psychological changes derived from his mental fatigue and wounds caused by the gap between his internal orientation and the confusion political situations during the reign of Gwanghaegun. For him, water represented by ‘Jisu’ was the imagery of ‘purity’, ‘moral training’, and ‘invariability’ and the medium of finding his way to the path of noble man. His Guigeoraesa displays an intersection between his lingering affection toward Seoul and his hope of returning to his hometown rather than his psychology of abandonment for eternal farewell.