선조대 『포은집』 운각본(芸閣本)의 간행과 의의

Abstract

Poeunjib is the collected writings of Jeong Mong-Ju at the end of Korea dynasty. This book had the most edition and the most published book in Chosun dynasty. Especially, it has the meaning of being published in Kyoseokwan because of the command of king twice(21th year of King Sejong and 18th year of King Seonjo). This article is about one of those anthology’s edition, Poeunjib Ungakbon which was published in 18th year of King Seonjo. Althiough this edition had lots of names, we’ll call it ‘Ungakbon’ in this article. One of its feature was that Ryu Seong-Ryong corrected the original Poeunjib because of the order of King Seonjo. The result was shown by Ryu Seong-Ryong’s Yonbokoyi(年譜攷異) which emulated Zhuxi’s Hanmunkoyi(韓文攷異). Yonbokoyi was summarized by Ryu Seong-Ryong through the example of Hanmunkoyi, based on Jeong Mong-Ju’s chronology in three books which Poeunjib Shinkyebon, Poeunjib Kaesungbon, and Poeunjib Kyoseokwanbon. These books were the edition of Poeunjib in early Chosun dynasty. Ryu Seong-Ryong was one of Lee Hwang’s disciple who was the greatest Neo-Confucianism scholar in Chosun dynasty. Poeunjib Ungakbon was the edition based on Neo-Confucianism in 18th year of King Seonjo. Therefore, all articles of Jeong Do-Jeon in the contents of Poeunjib were deleted. Poeunjib Ungakbon had a signification that were the base of Poeunjib edition (Youngchunbon, Bonghwabon, Sungyangbon) in the late of Chosun dynasty. The King Sunjo of Chosun is the most popular period of publishing Poeunjib. On the other hand, we could find a change of recognition about Jeong Mong–Ju. Despite the fact that Jeong Mong-Ju is engaged in the temple in King Jungjong, the problem of Jeong Mong-Ju's source, which is constantly raised in the field, still remained. About these, Lee Hwang in King Myongjong tried to solve the problem of Jeong Mong-Ju's source by asking Zhuxi. Ryu Sung-Ryong, who was a disciple of Lee Hwang in King Seonjo, summarized the source of Jeong Mong-Ju's works by describing Yonbokoyi. This had lead to a shift in the recognition of Jeong Mong–Ju in the late Chosun Dynasty. Song Si-Yeol in King Hyunjong recognized as a juxtaposition of Chosun Neo-Confucianism rather than a term of Jeong Mong-Ju’s fidelity. Here, it have reflected the desire to find Jeong Mong-Ju's position.