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

Abstract

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.