본문 바로가기
KERD
논문KCI 등재

한글 - 어떻게 제정되었나? - Ⅱ

Hangul - How was Hangul created? - Ⅱ

정광
국제언어인문학회 (International Association For Humanistic Studies In Language)|2019.06|인문언어 (Lingua Humanitatis)|제21권 제1호|pp. 83-130|DOI http://dx.doi.org/10.16945/201921183

0

조회

0

다운로드

1

인용

0

참고문헌

키워드

national scriptcreation process of HangulHumin-jeongeumSino-Korean pronunciation of Chinese characterseonmun (vulgar script)half letterfull letter
주제분류기타인문학

초록

This paper examines the creation process of Hangul from a new perspective. First, it is claimed that this new writing system, which King Sejong the Great himself invented and named Hunmin-jeongeum, is a set of phonetic symbols to represent the Sino-Korean pronunciation of Chinese characters. “Hunmin- jeongeum (訓民正音)” means the correct pronunciation of Chinese characters to be taught to the people. In other words, Hangul was made to represent the Sino-Korean pronunciation of Chinese characters based on Tongguk-jeongun (東國正韻), which is the book about the Sino-Korean pronunciation of Chinese characters that King Sejong had compiled by modifying the earlier Sino-Korean pronunciation of Chinese characters. Subsequently, King Sejong’s second daughter, Princess Jeongui(貞懿), used Hunmin-jeongeum to indicate some phonological changes in the pronunciation of Chinese characters, and in the process, she realized that the new script could be used to represent Korean inflectional endings such as verbal inflectional suffixes, case markers, and particles. This recognition led her to the use of the new script to write the Korean language. During this period, the name of the new script was ‘eonmun (諺文)’, which literally means ‘vulgar script,’ and this name reflects the perception about Hangul viewed as a lower-level script compared to Chinese characters. During the period of Taehan Empire (大韓帝國), it was referred to as the ‘national script (국문(國文))’ since eonmun was considered a vulgar, depreciative term, but it was called eonmun again during the period of Japanese colonial rule, and then the term Hangul was used in opposition to the use of the name. King Sejong initially invented only 27 letters to represent onset consonants, and they were used to transcribe Yùnhuì (韻會), the Chinese rhyme book. Then, a buddhist monk and scholar named Shinmi, a well-known authority on Buddhist scriptures of the period, participated in the creation of the new script, and letters for middle vocalic sounds of syllables, letters for vowels, were additionally invented. The characters of the writing system for Sanskrit, a language of ancient India, were divided into mātr for vowels and vyanjana for consonants, and these letters were called ‘half letter (半字),’ and its education was called teaching alphabets or ‘teaching half letter (半字敎)’. On the other hand, each letter of Siddham script represented a combination of a consonant and a vowel corresponding to a syllable, and this writing system was called ‘full letter (滿字)’. The education of this script was called ‘teaching full letter(滿字敎)’, which refers to the education of Sanskrit characters or Siddham. Sanskrit characters are syllabic characters that represent combinations of consonants and vowels. Teaching of half and full characters (半滿二敎) is an expression frequently appearing in Buddhist scriptures, and it refers to the education of Sanskrit characters. The renowned Buddhist monk, Shinmi, was well versed in Vyākaraṇa, the grammar of the ancient Indian inflectional language, and shèngmíng-jìlùn (聲明記論), a phonological study of Vyākaraṇa, since he learned them through the Tripitaka Koreana of Buddhist scriptures. Thus, he contributed to the additional invention of 11 middle vocalic sound letters of Hunmin-jeongeum based on the mātr, vocalic letters of Sanskrit characters. Before that, 27 letters for consonants were created based on the onset consonant sounds of Chinese Phonology (聲韻學), and they were called 27 fănqìe (反切) letters. They are ‘27 eonmun letters’ mentioned in the letter of appeal that Choe, Manri wrote against the creation of the new script.

Abstract

This paper examines the creation process of Hangul from a new perspective. First, it is claimed that this new writing system, which King Sejong the Great himself invented and named Hunmin-jeongeum, is a set of phonetic symbols to represent the Sino-Korean pronunciation of Chinese characters. “Hunmin- jeongeum (訓民正音)” means the correct pronunciation of Chinese characters to be taught to the people. In other words, Hangul was made to represent the Sino-Korean pronunciation of Chinese characters based on Tongguk-jeongun (東國正韻), which is the book about the Sino-Korean pronunciation of Chinese characters that King Sejong had compiled by modifying the earlier Sino-Korean pronunciation of Chinese characters. Subsequently, King Sejong’s second daughter, Princess Jeongui(貞懿), used Hunmin-jeongeum to indicate some phonological changes in the pronunciation of Chinese characters, and in the process, she realized that the new script could be used to represent Korean inflectional endings such as verbal inflectional suffixes, case markers, and particles. This recognition led her to the use of the new script to write the Korean language. During this period, the name of the new script was ‘eonmun (諺文)’, which literally means ‘vulgar script,’ and this name reflects the perception about Hangul viewed as a lower-level script compared to Chinese characters. During the period of Taehan Empire (大韓帝國), it was referred to as the ‘national script (국문(國文))’ since eonmun was considered a vulgar, depreciative term, but it was called eonmun again during the period of Japanese colonial rule, and then the term Hangul was used in opposition to the use of the name. King Sejong initially invented only 27 letters to represent onset consonants, and they were used to transcribe Yùnhuì (韻會), the Chinese rhyme book. Then, a buddhist monk and scholar named Shinmi, a well-known authority on Buddhist scriptures of the period, participated in the creation of the new script, and letters for middle vocalic sounds of syllables, letters for vowels, were additionally invented. The characters of the writing system for Sanskrit, a language of ancient India, were divided into mātr for vowels and vyanjana for consonants, and these letters were called ‘half letter (半字),’ and its education was called teaching alphabets or ‘teaching half letter (半字敎)’. On the other hand, each letter of Siddham script represented a combination of a consonant and a vowel corresponding to a syllable, and this writing system was called ‘full letter (滿字)’. The education of this script was called ‘teaching full letter(滿字敎)’, which refers to the education of Sanskrit characters or Siddham. Sanskrit characters are syllabic characters that represent combinations of consonants and vowels. Teaching of half and full characters (半滿二敎) is an expression frequently appearing in Buddhist scriptures, and it refers to the education of Sanskrit characters. The renowned Buddhist monk, Shinmi, was well versed in Vyākaraṇa, the grammar of the ancient Indian inflectional language, and shèngmíng-jìlùn (聲明記論), a phonological study of Vyākaraṇa, since he learned them through the Tripitaka Koreana of Buddhist scriptures. Thus, he contributed to the additional invention of 11 middle vocalic sound letters of Hunmin-jeongeum based on the mātr, vocalic letters of Sanskrit characters. Before that, 27 letters for consonants were created based on the onset consonant sounds of Chinese Phonology (聲韻學), and they were called 27 fănqìe (反切) letters. They are ‘27 eonmun letters’ mentioned in the letter of appeal that Choe, Manri wrote against the creation of the new script.

참고문헌 (81)

  1. 河野六郞, "東國正韻及び洪武正韻について", 東洋學報, 27(4) (1940), 東洋文庫
  2. 고노, "東國正韻及び洪武正韻について", 東洋學報, 27(4) (1968), 東洋文庫
  3. 고영근, "국어사 자료와 국어학연구(안병희 선생 회갑기념 논총)" (1993), 문학과 지성사
  4. 고영근, "조선 시대의 외국어 교육에 관한 정광 교수의 저작에 대한 서평-정광(2014), <조선시대의 외국어 교육> 등을 중심으로-", 한국어학, 80, pp.33~47 (2018), 한국어학회[DOI]
  5. 김민수, "한글 頒布의 時期--세종 25년 12월을 주장함--", 국어국문학, (14) (1955), 국어국문학회
  6. 김민수, "『釋譜詳節』 解題", 한글, (112) (1955), 한글학회
  7. 김민수, "全訂版 新國語學史" (1990), 一潮閣
  8. 김완진, "訓民正音子音字와 加劃의 原理", 語文硏究, (7·8) (1975), 한국어문교육연구회
  9. 김완진, "國語學史" (1997), 韓國放送通信大學出版部
  10. 김주원, "세계 여러 문자의 모음 표기 양상과 훈민정음의 모음자", 國語學, (80), pp.77~108 (2016), 국어학회[DOI]
  11. Samuel E.. Martin, "How Have Korean Vowels Changed Through Time?", Korean Linguistics, 10, pp.1~59 (2000)
  12. Alexander Vovin, "Koreo-Japonica-A Reevaluation of a Common Genetic Origin" (2010), University of Hawai’i Press
  13. 閔泳圭, "韓國의 名著" (1969), 玄岩社
  14. Geoffrey Sampson, "Writing Systems: A linguistic introduction" (1985), Hutchinson
  15. 安秉禧., "『月印釋譜』의 編刊과 異本", 韓國古典 심포지엄, 4 (1994), 一潮閣
  16. 安秉禧, "訓民正音硏究" (2007), 서울대학교 출판부
  17. 山口瑞鳳, "『三十頌』と『性入法』の成立時期をめぐって", 苳洋學報, (57) (1976), 일본 東洋學會
  18. 江田俊雄, "朝鮮佛敎史の硏究" (1977)
  19. 江田俊雄, "朝鮮佛敎史の硏究" (1977)
  20. 江田俊雄, "朝鮮佛敎史の硏究" (1977)
  21. 江田俊雄, "朝鮮佛敎史の硏究" (1977)
  22. 小倉進平, "增訂朝鮮語學史" (1940), 刀江書院
  23. 小倉進平, "增訂補注朝鮮語學史" (1964), 刀江書院
  24. 劉昌均, "東國正韻硏究" (1966), 螢雪出版社
  25. 劉昌均, "蒙古韻略과 四聲通解의 硏究" (1978), 螢雪出版社
  26. 李家源, "訓民正音의 創制", 洌上古典硏究, 7, pp.5~24 (1994), 洌上古典硏究會
  27. 李基文, "国語史概説" (1961), 民衆書館
  28. 李基文, "국어표기법의 역사적 연구" (1963), 한국연구원
  29. 이능화, "譯註朝鮮佛敎通史" (2010), 동국대학교 출판부
  30. 李東林, "東國正韻 연구", 박사, pp.1970
  31. 李東林, "訓民正音創製經緯에 對하여--俗所謂 反切二十七字와 相關해서--", 국어국문학, (64) (1974), 국어국문학회
  32. 이숭녕, "세종대왕의 학문과 사상" (1981), 亞細亞文化社
  33. 이숭녕, "信眉의 譯經事業에 關한 硏究", 대한민국 學術院論文集(人文社會科學篇), 25, pp.1~42 (1986)
  34. 임홍빈, "국어학논총(이병근선생 퇴임기념)", pp.1347~1395 (2006), 태학사
  35. 임홍빈, "訓民正音의 몇 가지 問題", ‘八思巴文字와 訓民正音’ 國際學術會議 자료집 (2008), 한국학중앙연구원
  36. 劉鳳翥, "유라시아 문명과 알타이", 역락
  37. 정광, "朝鮮漢字音の成立と變遷", 日本 中國語學會 第53回 全國大會 Symposiumの“漢字音硏究の現在” 主題發表 (2003)
  38. 정광, "吏文과 漢吏文", 구결연구, (16), pp.27~70 (2006), 구결학회
  39. 정광, "새로운 자료와 시각으로 본 훈민정음의 創製와 頒布", 언어정보, (7), pp.5~37 (2006), 언어정보연구소
  40. 정광, "국어사연구 산고(솔미 정광 교수 퇴임기념논문)", pp.379~398 (2006), 태학사
  41. 정광, "訓民正音の字形の獨創性", 朝鮮學報, 211, pp.41~86 (2009), 일본朝鮮學會
  42. 정광, "<蒙古字韻>과 八思巴文字 -훈민정음 제정의 이해를 위하여-", 세계 속의 한국(조선)학 연구 국제학술토론회 논문집, pp.24~63 (2009), 민족출판사
  43. 정광, "훈민정음의 中聲과 파스파 문자의 모음자", 國語學, (56), pp.221~248 (2009), 국어학회[DOI]
  44. 정광, "훈민정음 초성 32자와 파스파자 31자모", 譯學과 譯學書, (2), pp.97~140 (2011), 譯學書學會
  45. 정광, "<蒙古字韻>喩母のパスパ母音字と訓民正音の中聲", 東京大學言語學論集, (31), pp.1~20 (2011), 東京大學言語學科
  46. 정광, "<몽고자운>의 파스파 韻尾字와 훈민정음의 終聲", 譯學과 譯學書, (3), pp.5~34 (2012), 譯學書學會
  47. 정광, "元代漢吏文と朝鮮吏文", 朝鮮學報, 224, pp.1~46 (2012), 일본朝鮮學會
  48. 정광, "<월인석보>의 舊卷과 훈민정음의 언해본 -正統 12년 佛日寺板 <월인석보> 玉冊을 중심으로-", 國語學, (68), pp.3~49 (2013), 국어학회[DOI]
  49. 정광, "日韓漢文訓讀硏究", pp.333~378 (2014), 勉誠出版
  50. 정광, "세종의 한글 창제 - 동아시아 제 민족의 문자 교류와 훈민정음의 제정을 중심으로 -", 한국학연구, (51), pp.5~50 (2014), 한국학연구소[DOI]
  51. 정광, "한국어의 좌표 찾기", pp.69~108 (2015), 역락
  52. 정광, "朝鮮半島における仏経玉冊の刊行について", 朝鮮學報, 238, pp.35~79 (2016), 朝鮮學會
  53. 정광, "毘伽羅論과 훈민정음 -파니니의 <八章>과 佛家의 聲明記論을 중심으로-", 한국어사 연구, (2), pp.113~179 (2016), 국어사연구회
  54. 정광, "훈민정음 제정에 대한 재고 - 정광 <한글의 발명>에 대한 비판을 돌아보면서-", 譯學과 譯學書, (7), pp.5~81 (2016), 국제역학서학회
  55. 정광, "다시 살펴 본 최세진의 생애와 학문", 한국어사 연구, (3), pp.8~57 (2017), 국어사연구회
  56. 정광, "유라시아 문명과 알타이", pp.9~67 (2017), 역락
  57. 정광, "한글과 파스파 문자", 제13차 ISKS(International Society for Korean Studies) 국제학술회의 (2017), 국제고려학회
  58. 정광, "훈민정음의 새로운 이해-毘伽羅論과 파스파 문자와의 관련을 중심으로", 한국어사 연구, (4), pp.123~188 (2018), 국어사연구회
  59. 정광, "파스파 문자의 喩母와 훈민정음의 欲母-왜 한글에서는 모음자에", ᄋ, 국제고려학(International Journal of Korean Studies), pp.2018, (17)[DOI]
  60. 정광, "中國語學 開篇 vol. 36", pp.23~48 (2018), 好文出版
  61. 정광, "훈민정음의 <언해본>, -고려대 도서관 육당문고 소장의 「훈민정음」을 중심으로-", ~
  62. 정광, "朝鮮朝 譯科 試券 硏究" (1990), 成均館大學校 大東文化硏究院
  63. 정광, "譯學書 硏究" (2002), J&C
  64. 정광, "훈민정음의 사람들" (2006), 제이앤씨
  65. 정광, "蒙古字韻 硏究" (2009), 박문사
  66. 정광, "삼국시대 한반도의 언어 연구" (2011), 박문사
  67. 정광, "훈민정음과 파스파 문자" (2012), 도서출판 역락
  68. 정광, "조선시대의 외국어 교육" (2014), 김영사
  69. 정광, "한글의 발명" (2015), 김영사
  70. 정광, "역학서의 세계 - 조선 사역원의 외국어 교재 연구-" (2017), 박문사
  71. 정광, "새로 쓴 훈민정음의 사람들", 박문사
  72. 천혜봉, "影印 月印釋第七·八" (1977), 동국대학교 出版部
  73. N. Poppe, "The Mongolian Monuments in h̜P’ags-pa Script" (1957), Otto Harrassowitz
  74. N. Poppe, "Introduction to Altaic Linguistics" (1965), Otto Harrassowitz
  75. 服部四郞, "服部四郞論文集 卷3", pp.216~223 (1993), 三省堂
  76. 服部四郞, "服部四郞論文集 卷3", pp.236~238 (1993), 三省堂
  77. 服部四郞, "服部四郞論文集 卷3" (1993), 三省堂
  78. 허웅, "月印千江之曲 上" (1999), 신구문화사
  79. 洪起文, "正音發達史 上˓下" (1946), 서울신문사出版局
  80. 홍윤표, "국어사자료강독" (2017), 태학사
  81. 홍윤표, "초학자회(初學字會)", 국어사학회 월례발표회 (2017)

관련 논문AI추천

한글 - 어떻게 제정되었나? -Ⅰ정광국제언어인문학회 · 인문언어2018 · 제20권 제2호심악선생의 <혁신국어학사>로 본 한글 창제 -고대인도 음성학의 영향을 중심으로-정광국제언어인문학회 · 인문언어2023 · 제25권 제1호융합성의 관점에서 본 훈민정음의 창제 원리백두현한국문학언어학회 · 어문론총2012 · 제57호실록의 훈민정음 간행 기사의 비밀임홍빈언어정보연구소 · 언어와 정보 사회2013 · 제20권 훈민정음의 한자음 표기와 관련한 몇 가지 문제임용기인문학연구원 · 인문과학2012 · 제96권 「諺文字母」와 『訓民正音』 字母의 차이에 대하여이근우동북아시아문화학회 · 동북아 문화연구2024 · 제1권 제78호

이 간행물의 다른 논문 (6건)

Language and MusicChin-W. Kimpp. 13-54시조의 정체성과 현대시조가 나아갈 길구충회pp. 55-80한·중 피동 표현에 대한 대조 분석 연구: 담화기능을 중심으로서만pp. 131-165Lexical borrowing patterns in the Korean-English neologisms김선경pp. 167-189이란헌법에 나타난 이슬람적 언표 고찰김종도pp. 193-211
원문 보기