박효관이 하순일에게 준 생애 마지막 가집, 한창기본 『가곡원류』

Abstract

In this paper, I introduced Gagokwonryu collected by Han Chang-gi(Gagokwonryu by Mr. Han from here on) to the academic circles, and considered bibliographic features, details of the compliation and context of the transmission of the anthology from Park Hyo-gwan to Ha sun-il. As this Gagokwonryu is introduced to the academic circles, the total number of versions of Gagokwonryu that we now have and hold is nineteen. Some conclusions of my analysis of this anthology are shown as follows:First, Gagokwonryu by Mr. Han that Park Hyo-gwan revised himself in 1879 was given to the disciple, Ha sun-il, and allowed him to keep it at his home. Park Hyo-gwan was an 80-year-old in 1879. He passed away next year, Gagokwonryu by Han Chang-gi was his dying anthology of songs that he revised. Second, in Gagokwonryu by Mr. Han, 902 poems, 699 poems for male and 203 poems for female, are included in this anthology. This marks an all-time high in nineteen versions. The writing is very similar to version of Gugakwon(National Gugak Center) in 1872 and the early publication version of The Toyo Bunko(The Oriental Library in Japan). This fact shows professional transcribers had been mobilized for several years when Gagokwonryu was revised. Third, Gagokwonryu by Mr. Han consisted of 31 songs for male and 20 songs for female, its editing centered on songs for male. Because of this editing, including songs for both men and women, it places Daega(臺歌), sang in chorus after finishing songs, at the end of songs for men. This is the reason why Park Hyo-Gwan’s preface, including details of the compliation, is placed after songs for men, which is in the middle of the anthology. Also, 男唱 附女唱(it means this anthology centered on songs for male and songs for female are added) is written on the anthology cover to disclose clearly the intention of the redaction. Fourth, Park Hyo-gwan’s veiled instruction is revealed. He states that he studied under Kim Jae-seong when 20 and was an authority in this field. And it minutely decribes the history of a link with Ha Sun-il as disciple. Also it reveals that Park Hyo gwan values Ha Sun-il’s personality and his passion for singing, and it describes the history of editing. This clearly shows that context of the transmission of this anthology that led to Kim Jae-seong, Park Hyo-gwan, Ha Sun-il and Ha Gyu-il in the late 19th century.