목판본 『국조시산國朝詩刪』의 재편 양상을 통해 본 한국 한시선집의 존재 방식

Abstract

Park Tae-soon(朴泰淳) has planned and published a new book, Gukjosisan(『國朝詩刪』) which reflects the criticisms and expectations of the past. He added information about the author, supplemented the background explanation of the poem, added criticism that did not exist before, and even attempted to supplement omissions or errors in the poems. He divided criticism into ‘Bi(批)’ and ‘Pyeong(評)’, showing thefact that this book is not just an anthology, but also includes criticism. Unlike the original, additional parts such as criticism and author’s explanation other than poetry werestrengthened. In this process, the woodblock version Gukjosisan(『國朝詩刪』) followed the order of arrangement of poetic forms popular at the time, referring to the editing method and contents of Gia(『箕雅』), and also copied the author’s explanation. This is considered to be the result of being conscious of the literary world’s positive response to Gia(『箕雅』) and actively realizing the appearance of a Korean Chinese poetry anthology that writers had expected. These aspects of re-editing and existence of later versions of Gukjosisan(『國朝詩刪』) show that Joseon writers recognized Gukjosisan(『國朝詩刪』) as a ‘collection of Korean Chinese poetry criticism’. In the history of anthologies of Korean Chinese poetry, there is no book that presents as many additional materials other than poems as the woodblock version of Gukjosisan(『國朝詩刪』). Park Tae-soon(朴泰淳) transformed the character of this book by maximizing the inclusion of various discussions and information surrounding poetry. Through this, it satisfied theexpectations of writers about Korean Chinese poetry anthology and strengthened its position.