玄黙子 洪萬宗의 『靑丘永言』 編纂에 관하여―新發見 洪萬宗 著述 『覆瓿藁』의 「靑丘永言序」 및 「梨園新譜序」를 중심으로 (On Hong Man-Jong's Cheonggu Yeongeon (Everlasting Words of the Green Hill), an Anthology of Korean Sijo Poems : A Study of Preface Sections of Cheonggu Yeongeon and Iwon Shinbo Edited in a Newly-found)

서지정보

· 발행기관 : 성균관대학교 대동문화연구원
· 수록지 정보 : 대동문화연구 / 61호 / 319 ~ 347페이지
· 저자명 : 김영호

초록

본 논문은 필자가 새로 발견한 洪萬宗의 『覆瓿藁』(未刊行 著者親筆校正本, 筆者所藏)에 실린 『靑丘永言』 序文과 『梨園新譜』 서문의 分析을 통하여 「청구영언」의 원편찬자는 기존에 알려진 金天澤이 아니라 洪萬宗임을 밝힌 것이다.
홍만종 「청구영언서」와 「이원신보서」 발견의 의의는 다음과 같다.
첫째, 「청구영언」은 홍만종에 의해 편찬되었으며 김천택이 전면적인 수용 또는 표절하였다는 사실을 명확히 알 수 있다.
둘째, 「청구영언」의 편찬경위, 의도 등에 대해 저자의 육성을 통해 직접 들을 수 있게 되었다.
셋째, 「청구영언」의 속편인 「이원신보」가 있었다는 사실을 새롭게 알게 되었다.
넷째, 漢詩批評家로서의 홍만종에 대한 기존의 평가 이외에 새로운 평가 및 한국문학사의 확장을 할 수 있게 되었다.
다섯째, 「청구영언」과 관련된 <金得臣序文> 및 「旬五志」와의 관계 등 기존의 의문이 대부분 해결되었다.
여섯째, 「청구영언」 서문을 통해서 17세기에 이미 양반 사대부에 의해 정형적인 가집의 편찬이 이루어졌다는 것을 새롭게 인식하게 되었다.

영어초록

This study is to argue that the sijo collection of Cheonggu Yeongeon was not actually edited by Kim Cheon-taek but by Hong Man-Jong. I will identify this through the analysis of preface sections of Cheonggu Yeongeon and Iwon Shinbo, both of which had been assumedly edited in Bubugo, a newly-found Hong Man-Jong's literary anthology.
My task in this article is worth to point out a range of implications that the newly-found prefaces enlisted in the anthology, including the preface of Cheonggu Yeongeon, will substantially have on Korean studies: first, they are the real proof that Cheonggu Yeongeon was edited by Hong Man-Jong, and it may raise substantial questions about the authorship of Kim Cheon-taek's Cheonggu Yeongeon; second, the prefaces explain the intention and the process of the anthology by the author's voice itself; third, the prefaces show that Iwon Shinbo is the sequel to the anthology; fourth, the prefaces help to make it possible to give a new evaluation to Hong Man-Jong himself as well as to lay out a new scene in an enlarged Korean literary history; fifth, the prefaces will help to solve all the unanswered questions related with Cheonggu Yeongeon; lastly, the prefaces show that anthology-making set in a standard type already maintained a vigorous presence among the Korean upper and upper middle-class families in the 17th century.
I will go on arguing that Hong Man-Jong's Cheonggu Yeongeon was not organized according to the musical modes to which Korean sijos or song lyrics were set, nor did he mention it in the preface. What interests me next is that the style and the reference point in each self-introduction mentioned in the notes of Cheonggu Yeongeon make the text most likely attribute to Hong Man-Jong Himself. Thirdly, there could not be much addition by Kim Cheon-taek who presumably augmented the original text, while assuming that Kim actually lived in the later period of Chosun Dynasty than Hong did. Highly probable, therefore, is the fourth point that a range of alleged Sijo poems attributed to Kim in Jinbon Cheonggu Yeongeon had been presumably claimed into his own without adequate acknowledgement of the original authorship. Lastly, I will point out that Haedong Gayo attributed to Kim Su-Jang had been most likely derived from Hong's anthology. I, therefore, expect that the newly-found preface sections of Cheonggu Yeongeon and Iwon Shinbo will help to provide further intellectual stimulation for vigorous discussion about them.

참고자료

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