『영언(永言)』 (이근배본) 계열 가집 연구

Abstract

This study aims to investigate Cheongguyeongeon(Mr. Hong version) and Haedongyeongeon(Yonsei University version) which seem to be collections of songs along the lines of Yeongeon(Lee Geun-bae version). The findings shed light on the following facts: Cheongguyeongeon(Mr. Hong version) is a simple abridged version of Yeongeon(Lee Geun-bae version), deleting some of its songs according to the need while accepting it faithfully. There are differences in the degree of deletion according to the items. Largely, its acceptance rate is high over 80% until the songs by identified people including Isakdaeyeop. Its acceptance rate drops sharply to lower than 30% for songs by unidentified people. In the end, Cheongguyeongeon(Mr. Hong version) is a collection of songs that abridged Yeongeon(Lee Geun-bae version) with a focus on writers from the noble class. Haedongyeongeon(Yonsei University version) is a collection of songs introduced to the academic circles in the present study for the first time. It seeks after its independence partially while it is based on Yeongeon(Lee Geun-bae version). Like Cheongguyeongeon(Mr. Hong version), it faithfully accepts Yeongeon(Lee Geun-bae version) to a reduced degree until the songs by identified people including Isakdaeyeop. It, however, highlights its independence in its own way in the second part covering the songs by unidentified people and in the introduction providing all sorts of information about music, which means that it is difficult to find its connections to Yeongeon(Lee Geun-bae version). Yeongeon(Lee Geun-bae version), which was published in the late 18th century, continued to be accepted in the forms of re-transcription, simple abbreviation, and derivation into a new version until the 19th and early 20th centuries. This indicates that there was a certain need for collections of songs reflecting the characteristics of the 18th century that valued authorship eveafter the 19th century when the mainstream in the publication of collections of songs changed in the direction of valuing only tunes sung in songs at singing sites. Yeongeon(Lee Geun-bae version) was at the center of this flow probably because it was considered a representation of 18th-century collections of songs that valued authorship.