유언호(兪彦鎬) 『연석(燕石)』의 평점비평 연구

Abstract

This paper is the first attempt at examining the characteristics and the significance of the pyeongjeom criticism(評點批評) in Yeonseok(燕石) written by Yu Eon-ho(兪彦鎬,1730∼1796). The argument of this paper is based primarily on analysis of the only existing manuscript copy of Yeonseok(燕石), which is currently stored in Jangseogak library, and also uses secondary information provided by another researcher regarding other newly discovered materials related to Yeonseok to scrutinize the background of the pyeongjeom criticism in Yeonseok and prove that the writers behind this pyeongjeom criticism are Park Ji-won(朴趾源,1737∼1805) and Yoo Han-joon(俞漢雋, 1732∼1811). The criticism presented in Yeonseok can be generally divided into two categories. One is ‘Kwonjeom’(圈點)(emphatic dots), and the other is ‘Pyeong-eoh’(評語)(critical words and phrases). The pyeongjeom criticism can also be distinguished by colour. Red is used to mark the criticism composed by Park Ji-won and blue is used to mark the criticism by Yoo Han-joon. The characteristics of the kwonjeom and pyeong- eoh used in Yeonseok can also be found in the Ming dynasty’s representative book of pyeongjeom criticism Selected Works of Writings by the Top Eight Great Writers of the Tang and Song Dynasties(唐宋八大家文鈔), written by Mao Kun(茅坤), and in the pyeongjeom criticism that circulated in the late 18th century of the Chosun Dynasty. However, even while sharing similar methods as these other examples, the pyeongjeom criticism in Yeonseok also has its own distinctive character. This thesis sheds light on both the shared methods and the distinctive aspects of the pyeongjeom criticism in Yeonseok. After analyzing the general features of kwonjeom and pyeong-eoh, this paper examines the way they function and interact within the text of Yeonseok. As kwonjeom is conveyed semiotically, it is difficult to decode its meaning, so many studies dealing with pyeongjem criticism have overlooked its function. However, this thesis evaluates the use of kwonjeom from the perspective of viewing it as a unique form of criticism and thereby demonstrates that Park Ji-won and Yoo Han-joon’s use of the kwonjeom can be considered as a dialogic effort. In regard to pyeong-eoh, this study examines how the critics Park Ji-won and Yoo Han-joon use their own writing from previous compositions as critical comments. This is especially true for Park Ji-won’s criticism. As a result, the pyeongjeom criticism in Yeonseok can be considered a unique style of criticism that engages in a dialogue with its subject text rather than offering a simple assessment, resembling the style of criticism practiced by a little later by writers like Lee Deok-mu(李德懋, 1741∼1793) and Lee Eui-jun(李義駿, 1738∼1798) in Cheongseongjapgi(靑城雜記) and Punseok-Kohyupjip(楓石鼓篋集). In conclusion, Yeonseok can be considered a means for gaining a sense of the historical and literary significance of the interactive style of pyeongjeom criticism which became popular practice in the late 18th century between Chosun literatures as well as an authoritative source of reference for gaining an understanding of Park Ji-won and Yoo Han-joon’s prose criticism and their critical demeanour and inclinations.