『영언류초(永言類抄)』의 편찬 특징과 가집사적 맥락

Abstract

The purpose of this article is to examine the compilation characteristics and meaning in the History of Gajip of Gagokchang gajip yeongeonryucho in the mid-to-late 18th century. To this end, the organization of yeongeonryucho was reviewed, and the variations of the lyrics of the included sijo works was examined. As a result, the following research results could be derived. First, there is no classification mark for a piece of music in yeongeonryucho, but I checked the internal system of the gajip. At the beginning of the gajip, the Jungdaeyeob(中大葉) and the Cho-sakdaeyeob(初數大葉) were arranged, and after that, the works of the I-saKdaeyeob(二數大葉), the Sam-sakdaeyeob(三數大葉), and the Nong(弄), Nak(樂), and Pyeon(編) were arranged in accordance with the flow of the gagok performance, centering on 'DangaChojip(短歌抄集)'. Second, the variation in the lyrics in yeongeonryucho accounts for about 35% of all works, and most of them are not just mistakes or errors, but are the result of active rewriting and reorganization. Third, these variations in the lyrics were often caused by active intervention by editors, singers, or enjoyment groups and new unique works and remakes were created through the variation of the lyrics. Putting these contents together, yeongeonryucho is a gajip that feels strongly related to the singer who put himself directly at the scene of the gagok performance and it reflects the culture of enjoying gagok at the time when it was possible to freely correct the lyrics. In addition, yeongeonryucho can be evaluated as a gajip that reflects the artistic autonomy and independence of the gagok performance group that enjoyed the gajip, such as singers and gajip editors in the mid to late 18th century.