<記言> 原集의 구성에 담긴 眉叟 許穆의 작가 의식

Abstract

Misu(眉叟) Heo Mok(許穆, 1595~1682)’s anthology, Gieon(記言), i.e. Record of My Word, has a unique characterisic among many other anthologies in Joseon dynasty. Contrary to typical anthologies that were usually compiled by disciples after the author’s death in the form of classifying works by the style of writing, Gieon was complied by Heo Mok himself, and furthermore had the encyclopaedic structure those categories were set up by the author Heo Mok himself. Considering Heo Mok’s incomparable revivalistic literary and cultural activities in late Joseon period, Gieon’s peculiar structure and its significance is necessary to be carefully studied, but Heo Mok whose standpoint was the traditional confucian approach to literature emulating that of Confucius himself saying “I am a transmitter, and not a maker”, was a faithful reader of the ancient sages’ works and a narrator of the fidelity to the present questions and the ancient institution suppressing his own feeling and opinion, who had never uttered his self-confidence as a writer and specific plan to edit his book at the preface and epilogue or any other articles in his anthology. This thesis therefore will focus on the layout of Gieon’s articles and structure of its categories for inferring intent of Heo Mok’s editorship of Gieon. The structure of Gieon is very complicated because it had been through several rounds of compilation during Heo Mok’s long life, and even it has the additional part of his disciples’ compilation. Among several parts of Gieon, this thesis will analyse the ‘Original Compilation’(原集) that was made mainly in the years of peaceful retirement in Yeoncheon(漣川), Gyeonggi Province, 1662~1674. The Original Compilation is composed of two triple parts, that is the Upper / Middle / Lower (上中下) and the Miscellaneous / Inner / Outer (雜內外). The Inner and the Outer parts had been originally separate works, and the Miscellaneous included a few wrtings, so the Upper, Middle, and Lower parts were the core of the Original Gieon. However, this upper, middle, and lower division has little significance, and there is another momentum that Heo Mok edited this book. By that momentum, the Original Gieon can be divided to three part as below. The first part is from the beginning to the 7th chapter of the Upper part ‘Jeungeon(贈言), Send-off Words’, that contains short articles to explain the diverse transformation of Chi(氣) in the world, ritual system, and ancient writing and script(古文). In this part Heo Mok affirmed his identity as revivalist Confucian scholar. The second part is from the 8th chapter of the Upper part ‘Yulim(儒林), Confucian Scholars’ to the 4th chapter of the Middle part ‘Sugo(壽考), Longevity’, that contains the writings about the previous and comtemporary persons. The third part is from the 5th chapter of the Middle part ‘Dongu(棟宇), Houses and Pavilions’ to the last of the Lower part ‘Sancheon(山川) Mountains and Streams’, that contains the writings about space and travel from the lesser spaces like buildings and gardens to the larger spaces like geographical features. The persons in the essays in the second part had personal connection to Heo Mok, and how these persons had connected to Heo Mok would be the editorial factor of this part. In the third part, Heo Mok rearranged the regions of Joseon Peninsula from his life time experience. In editing this part, three regions played a key role : Yeoncheon in Gyeonggi Province where his ancestors and he had lived a daily life, Southwestern Gyeongnam Province where he had stayed several years in his young age, and Samcheok(三陟) in Gangwon Province where he had been the governor. From this point, the Original Gieon’s editorial momentum was the connection between Heo Mok, the writer, and the written subjects. This characteristic of Gieon’s structure shows that although Heo Mok seems to be a blind revivalist and dry narrator, in fact he stood firm in the center of narration with concealing himself. In his composed voice and in the prudential way Heo Mok wrote and arranged his articles in the Original Gieon, and this voice and way has been irrigated by far and long stream of revivalistic literature tradition in the Far Eastern civilization using Chinese characters as a common literary language.