방각본『남훈태평가』의 간행 양상과 의의

김유경 열상고전연구회 2010 열상고전연구 Vol.31 No.-

이 연구에서는 상업 출판된 유일한 가집인『남훈태평가』의 간행 양상과 의의를 살폈다. 먼저『남훈태평가』의 체제상의 특징을 살폈다. 서두에서 악조명이 악곡명과 섞여 악곡과 같은 차원에서 제되는 현상은 19세기 연희 현장에서 찾을 수 있는 현상이며, 1910년대 활판본 가집의 체제에서도 확인할 수 있는 현상이다. 이 시기 가창 문화에서 농․락․편 이외의 기존 악곡들은 구분이 불필요해졌거나 미약해진 현상을 반영한 것으로 보인다. 또한 서두에 악곡을 제시하는 순서가 일반적인 가곡창의 순차와는 달리 삭대엽의 변주곡을 가장 앞세운 것은 당대에 유행하던 인기순일 것이다. 가사와 잡가 가운데 잡가를 앞세운 것도 같은 이유였을 것이다. 『남훈태평가』는 노랫말을 적은 가집이다. 그러므로 창법에 익숙한 수용자가 아니면 접근하기 어렵다고 볼 수도 있다. 하지만 시조창의 성행은 향유층의 확대를 가져왔으며 그 과정에서 다양한 기량의 시조창이 존재하게 되었을 것이다. 한글독서층에서 시조를 이해하는 방식의 한 예를 ≪만언사≫의 이본인 연대 소장『규호소적』의 <만언답사>에서 확인할 수 있다. 유배객이 머무는 집의 안주인이 <만언사> 화자에게 들려주는 답사를 시작하기에 앞서, 서술자가 등장하여 <만언사> 화자의 노래를 노래 같기도 시조 같기도 하다는 인식을 드러낸다. 시조창은 전문가에 의해 고급한 정도로 연창되기도 하였지만 낮은 수준으로 시행되기도 하였던 것이다. 다양한 층위의 시조창에 접하게 된 대중은 그 노랫말에 흥미를 가지게 되고 따라서 ‘노랫말의 구독’이라는 수요까지 가지게 되어, 방각본『남훈태평가』가 탄생한다. 다음으로, 그간의 논의에서 전혀 규명되지 못하던 1920년 이후의 간행 양상을 밝혔다. 판권지에 따르면 인쇄일은 모두 1920년 8월 25일이되, 발행일은 8월 30일, 9월 9일, 9월 30일로 차이가 난다. 본고에서는 이 가운데 9월 9일 발행본은 출판법에 따라 조선총독부에 납본된 것이었으며, 발행 ‘즉시’ 검열 받아야 한다는 규정에 맞추기 위해 발행일을 수정한 것이었음을 밝혔다. 9월 30일 발행본은 납본 후에 시판한 본임을 밝혔다. 그리하여 1920년 9월 초에 한남서림에서『남훈태평가』를 인쇄한 것이 확실함을 밝혔다. 또한 간기 중 ‘석’자가 깎인 본의 1920년 8월 30일 발행이라는 판권지 정보는 믿을 수 없음을 지적하였다. 다른 두 본과 달리 판권지에 도서 광고를 겸하고 있는 점에 주목하여, 도서 광고에 등장하는 서적들의 신간과 납본일을 추적함으로써, 1920년이 아니라 1922년 2월 이후에 인쇄한 것이 확실함을 밝혔다. 또한 인쇄․발행일 표시에서 대정 연호가 사라진 것을 근거로 그 시기는 다이쇼가 사망하는 1926년 12월 25일 이후일 것으로 추론하였다. 끝으로, 1920년 이후의『남훈태평가』 재간행은 1910년대에 왕성하게 공급된 활판본 가집의 성행에 힘입은 것이었으며,『남훈태평가』는 저렴한 가격으로 시장 에 편승할 수 있었을 것임을 지적하였다. 아울러 1910년대 활판본 가집의 성행은 1863년에『남훈태평가』가 최초로 열어놓은 ‘읽는 노랫말’의 대중적 보급이 토대가 된 것임도 지적하였다. Throughout literary history, Namhuntaepyeongga stands out as meaningful pulished book. Since it is the only one commercially published anthology. In this study, I research the publication aspects and significance of Namhuntaepyeongga all over 19th and 20th century. Firstly, I underdraw Ujo and Gyemyon were used as titles of musical pieace. And the order of listing pieces on the beginning was different from other general piece's that. Since Namhuntaepyeongga is collection of songs, if users who are unfamiliar with those sort of book would be not much accessible. However, with great prevalency of Shijochang and its growing user groups, Shijochang developed in various level and aspects. In means, Shijochang was produced and practiced in socially high level as well as lower level. So then the needs for subscriping lyrics of them has came. That was the driving motif of the publication of Namhuntaepyeongga. For the second, I studied on the publication aspects after 1920's which was not shown by any other academic approahces. Accroding to copyright inforamtion, all of Namhuntaepyeongga were imprinted at 25th, Aug. of 1920 but the dates of publication were shown different from it as 30th, Aug., 9th Sept., and 30th, Sept.. Among those, I showed that the issue of date 9th Sept. was submitted to the Japanese Government General of Korea following the current Publication Law. Then I also showed the issue of date 30th, Sept. was released on market after the submission. And I exclaimed strong question on the argument that among the colophons, the issue including scratched 'Suk' character was 30th, Aug. Moreover, I focused on the issue holing copyright page were used as advertisement unlike other two issues then I compose the dates of print and publication chronologically according to each style of advertisement of Hannamseolim. Thus, I reached the conclusion that the issue whose publication date was printed as 30th, August was not printed out at 1920 and rather after Feburary of 1922. Moreover, since there is no more era name of Taisho, I suggest that the publication time of it would be after the death of Taisho, 25th, December of 1926. For the last, I arrange the meaning and value of the republication of Namhuntaepyeongga. It was attributed to great trend of printed anthology on 1910's and this puularity of printed anthology was caused of the popular distribution of 'readable lyrics' which Namhuntaepyeongga has started throughout general people.

『남훈태평가』의 필사본 유통 양상

이상원 ( Sang Won Lee ) 한국시가학회 2009 韓國 詩歌硏究 Vol.27 No.-

남훈태평가 시조의 소설 수용 양상과 그 의미

김석회 ( Kim Seok-hoi ) 한국고전문학교육학회 2006 고전문학과 교육 Vol.12 No.-

This paper is a research of the aspect of Sijo(時調) originated from novel in Namhoontaepyoungga(南薰太平歌) and its meaning. Sijo(時調) originated from novel is first appeared in Chunguyongon (靑丘永言) jinbon(珍本)(1728), and its style is intermediate monologue style. The intermediate monologue style is main stream of Sijo originated form novel. But in Namhoontaepyoungga(南薰太平歌), the intermediate monologue style is almost dropped, and polyphonic epic style. epic transformed style are the main stream. This is the particular aspect of Namhoontaepyoungga(南薰太平歌), and that is proved to be the strategy of popularization.

『남훈태평가』 소재 시조의 唐詩 수용 양상과 의미

이고은 열상고전연구회 2015 열상고전연구 Vol.46 No.-

신발굴 가집 <노ᄅᆡ젼>의 특성과 계보적 위상

권순회 우리어문학회 2024 우리어문연구 Vol.79 No.-

보면 처음에 1~42장까지 필사한 후 시차를 두고 <화츙별곡>이 더해지고, 이후에 다시 44장 이하가 필사된 것으로 판단된다. 표기 문자는 순국문이다. 필사한 인물은 알 수 없고 그 시기는 20세기 초반 무렵으로 판단된다. <노ᄅᆡ젼>의 편제는 두 층위로 구성되었다. 전자는 <남훈태평가> 방각본을 재필사한 대목으로 시조(1~158번), 잡가편(3편), 가사편(4편)이 수록되었다. 후자는 시조 13수와 가사 <화츙별곡>이 수록된 대목이다. 이들은 편자 혹은 주변 인물들이 선호하던 작품들로 판단된다. <남훈태평가> 방각본과 다른 필사본과의 시조 작품 수록 양상에 대한 비교 결과 <노ᄅᆡ젼>은 방각본을 저본으로 활용했고 필사와 관련하여 다른 필사본과는 직접적인 연관이 없는 것으로 확인되었다. 아울러 다른 필사본들도 모두 각기 다른 맥락에서 방각본을 재편집했고, 필사본들 사이의 계열 관계는 파악되지 않았다. <남훈태평가>는 1863년 초간된 이후 수록 작품의 변화 없이 20세기 초반까지 재판본이 거듭 간행되었다. 이는 가창 용도보다는 오히려 독서물로써의 대중적 수요가 많았기 때문이다. 이러한 이유로 <남훈태평가>는 20세기 초반의 연창 상황에서 가창용 가집으로 적합하지 않은 측면이 다분했다. 무엇보다 수록 작품 가운데는 이미 가창의 현장에서 멀어진 것들도 다수 포함되어 있었다. 이에 <남훈태평가>를 가창 용도로 활용하려면 필연적으로 연창 상황에 맞게 재편집 과정을 거칠 수밖에 없었다. 여러 유형의 <남훈태평가> 필사본은 바로 이러한 맥락에서 산출되었다. 이들은 1차로 <남훈태평가> 방각본에서 가창에 적합한 작품을 선별하고, 2차로 여기에 편자나 주변 인물들이 선호하던 시조나, 가사, 잡가 등의 새로운 작품을 더하는 방식으로 자신만의 가집을 편집했던 것이다. The purpose of this article is to introduce the newly discovered song-book <Noraejeon> to the academic world and reveal the characteristics and genealogical status of the document. <Noraejeon> is a re-edited manuscript of <Namhuntaepyeongga(南薰太平歌)>, widely known as a Banggakbon(坊刻本) song-book. It contains 171 sijo poems, 3 Japga poems, and 5 Gasa poems. One manuscript book, totaling 45 pages (excluding the cover and inside pages). Looking at the handwriting, it appears that chapters 1 to 42 were first copied, then <Hwacheobbyeolgok> was added at a time, and later chapters 44 and below were transcribed again. The written text is pure Korean. The person who copied it is unknown, and it is presumed to be around the early 20th century. The organization of <Noraejeon> consisted of two levels. The former is a transcription of <Namhuntaepyeongga> Banggakbon and includes Namhunga (No. 1~158), Japga Part(3 works), and Gasa Part(4 works). The latter includes the 13 poems of Sijo and Gasa <Hwachungbyeolgok>, and these are believed to be works favored by the compiler or people around him. As a result of comparing the aspects of sijo inclusion between <Nam huntaepyeongga> Banggakbon and other manuscripts, it was confirmed that <Noraejeon> was copied from Banggakbon and was not directly related to other manuscripts. In addition, it was found that other manuscripts were all re-edited from Banggakbon in different contexts, and that there was no family relationship between the manuscripts. <Namhuntaepyeongga> was first published in 1863 and was repeatedly reprinted in the early 20th century without any change in the work included. This is because there was a lot of popular demand as reading material rather than for singing. For this reason, <Namhuntaepyeongga> had many aspects that made it unsuitable as a song-book for singing in the early 20th century. Above all, many of the works included were those that had already moved away from the singing scene. Accordingly, in order to use <Namhuntaepyeongga> for singing purposes, it inevitably had to go through a re-editing process to suit the singing situation. Various types of manuscripts of <Namhuntaepyeongga were produced in this context. They edited their own song-book by first selecting works suitable for singing from the <Namhuntaepyeongga> Banggakbon and secondly adding new works such as Sijo, Gasa, and Japga, which were preferred by the editor and people around them.

방각본 한글 가집 『남훈태평가』의 서지 연구

이유진 서울대학교 규장각한국학연구원 2008 한국문화 Vol.43 No.-

Namhuntaepyeongga(南薰太平歌) is a commercially woodblock-printed Korean anthology of the 19th century, which contains sijo, japga and gasa. Its first edition was published in Seoul in 1863, and it was later reprinted several times. A different version of Namhuntaepyeongga was published from the late 19th century to the early 20th century. Because Namhuntaepyeongga is the only commercially woodblock-printed Korean anthology, it has occupied the attention of scholars and has, for more than twenty years, been treated as very important material in many studies referring to the spread of sijo or the popularization of sijo. By comparison, bibliographical studies on Namhuntaepyeongga have only been undertaken quite recently, and there are still several questions to answer. The two most important questions, which we must answer without delay, are these: do we have the first edition of Namhuntaepyeongga? If not, can we infer what it looked like from the reprints or the different version of Namhuntaepyeongga? To answer these questions, this study examines the books we have today as closely as possible. Namhuntaepyeongga(南薰太平歌) is a commercially woodblock-printed Korean anthology of the 19th century, which contains sijo, japga and gasa. Its first edition was published in Seoul in 1863, and it was later reprinted several times. A different version of Namhuntaepyeongga was published from the late 19th century to the early 20th century. Because Namhuntaepyeongga is the only commercially woodblock-printed Korean anthology, it has occupied the attention of scholars and has, for more than twenty years, been treated as very important material in many studies referring to the spread of sijo or the popularization of sijo. By comparison, bibliographical studies on Namhuntaepyeongga have only been undertaken quite recently, and there are still several questions to answer. The two most important questions, which we must answer without delay, are these: do we have the first edition of Namhuntaepyeongga? If not, can we infer what it looked like from the reprints or the different version of Namhuntaepyeongga? To answer these questions, this study examines the books we have today as closely as possible.

보급용(普及用) 가집(歌集) 『남훈태평가』의 인간(印刊)과 시조 향유에의 영향(1)

성무경 ( Mu Kyung Sung ) 한국시가학회 2005 韓國 詩歌硏究 Vol.18 No.-

고전과 노래, 시조의 이중적 위치 ―1890년대부터 1910년대까지 시조를 중심으로―

김남규 한국시조학회 2025 시조학논총 Vol.62 No.-

This study focuses on the hiatus in the history of Sijo literature from the end of the 19th century to the 20th century. We examine the transition of Sijo toward modern popular art and modern literary genres from the 1890s to the 1910s. The Sijo of the Enlightenment period attempts to resist Japanese colonial rule by criticizing reality or satirizing the times of colonial Joseon via newspapers and advocating collective values of patriotism and enlightenment. Consequently, the Sijo class introduced the Sijochang(時調唱) form, which secured a broad public base at the time, for immediate and widespread propagation. However, the Sijo of the Enlightenment period did not reach the original form of poetry that expressed the original lyricism or individual emotions, as they devoted themselves to nationalistic writing and demonstrated most of their merits as a musical song. However, it showcased the limitations of the transition to literature poetry. An example showing the mixture of these two music and literature styles is available in the translation of the Sijo by missionaries James Scarth Gale and Homer Bezaleel Hulbert. Gale translated the Sijo using the original Namhoontaepyeongga(南薰太平歌), which is a critic of an ancient Korean song of unknown origin. Additionally, Hulbert presented a single original Sijo and added imagination to explain the Sijo in three acts of a play, similar to a Sijo singing performance. Through the Sijo, they attempted to secure the Korean song form and the “ethnic aspect” or Joseon uniqueness from the Korean language. Meanwhile, Choi Namsun reorganized the pre-modern musical genre of the Sijo from a modern perspective and demonstrated the acceptance of the literary genre of the Sijo as a reading material. He attempted to incorporate the Sijo into “classical” and literary genre “poetry” by introducing 23 ancient Sijo in nine volumes, beginning with the second volume. Additionally, from the first issue of the Chungchoon to the fourth issue, Choi Namsun attempted to present the Sijo as a modern reading material and a culture to be learned as modern knowledge, in which visual information and knowledge can be combined, while incorporating the Sijo with the illustrations of Ahn Jungsik. In summary, similar to the perception of Gail and Hulbert of the Sijo as a Korean music genre and the continuation of their translation work, the Enlightenment period of the Sijo included in the newspaper adopted the form of Sijo creativity familiar to the general public for enlightenment, whereas Choi Namseon attempted to present the Sijo as a cultural material, a reading material, and literature (to read). The most important text for all of them was the Sijochang(時調唱) collection of songs, Namhoontaepyeongga(南薰太平歌). The Namhoontaepyeongga(南薰太平歌) was the main text linking the history of the Sijo in the 19th and 20th centuries.

『朝鮮筆景』(Pen-picture of Old Korea(1912)) 소재 게일(J. S. Gale) 영역시조의 창작연원과 ‘내지인의 관점’

이상현(Lee Sang Hyun),이진숙(Lee Jin Sook) 우리문학회 2014 우리文學硏究 Vol.0 No.44

본고의 목적은 『게일유고』(Gale, James Scarth Papers) 소재 미간행 책자자료, 『朝鮮筆景『(Pen-picture of Old Korea(1912))에 수록된 게일의 영역시조를 고찰하는 것이다. 『朝鮮筆景』의Ⅰ장 “Korean Songs and Verses”에는 The Korea Review의 권두시로 수록되었던 『장자』의 한 구절에 대한 영역시 1수(1901.2), The Korean Repository에 수록되었던 영역시조 9수(1895.4~1898.12), 초출 영역시조 8수로 구성되어 있다. 즉, 17수가 『남훈태평가』 소재시조를 英詩化한 작품이며, 6수의 영역시조는 본고를 통해 최초로 학계에 공개되는 게일의 영역시조작품이다. 『朝鮮筆景』 소재 영역시조는 The Korean Repository 소재 영역시조들이 보여준 시조번역실험의 결과물이며, 「문학에 관한 片言(“A Few Words on Literature”)」(1895.11)에서 보여준 ‘음악과 회화의 복합체’로 『남훈태평가』 소재 시조를 해외에 소개하고자 한 그의 이론적 지향점이 투영되어 있다. 『천로원정』의 삽화가 기산 김준근의 풍속화 3편과 함께 게일이 엄선한 영역시조는 ‘내지인=한국인이라는 관점’에 의거하여, 조선 사대부 남성의 立身揚名의 이상과 규방여성들의 그리움의 정서 등을 보여준다. 즉, 이 영역시조는 한국인의 내밀한 심성을 재현해 주는 한국의 시가 (Songs and Verses)였던 것이다. This paper aims to examine the origin of J. S. Gale’s Si-jo English translations and his Koreanized perspective in the book-shaped unpublishedPen-picture of Old Korea(『朝鮮筆景』(1912)), one of theGale, James Scarth Papers. The first chapter ofPOK is titled “Korean Songs andVerses.” It includes 18 poems. One poemfromChang-ja(『莊子』) was already introduced as one of opening poems inThe Korea Review(1901.2). Nine poems were also already published inThe Korean Repository(1892, 1895~98). Eight poems were introduced to the English readers for the first time inPOK, six of which are introduced for the first time to the academic community by this paper. POK’s seventeen Si-jo translations except one fromChan-ja derive fromNam-Hoon-Tae-Pyeong-Ga(『南薰太平歌』). Gale’s Si-jo translations in POK were produced during his mission in Wonsan(1892~1897) as member of the U.S.A. PresbyterianMission in Korea. They can be said to be the accumulated outcomes of his early experimental translations of Si-jo which started to emerge fromThe Korean Repository. They also reflect his literary goal to make knownNam-Hoon-Tae-Pyeong-Ga. Gale thought that this collection embodied his literary view stated in his short article “A FewWords on Literature”(1895) in which he said literature is the combination of music and picture. POK includes 3 illustrations by KimChun-gun who also illustrated the Korean translation of The Pilgrim’s Progress (『天路歷程』). Gale’s selections of Si-jo inPOK are based on his Koreanized perspective which he acquired through his deep knowledge and wide information of Korea during his long residence in Korea. The theme of So-jo inPOK includes Chosun scholars’ idea of ambitious fame and the longing of women in the inner quarters. That is, they represent the intimate feelings of the Koreans.

『남훈태평가』 소재 시조에 나타난 여성 인물상의 특징적 경향과 의미

최규수(Choi Kyu soo) 한국고전여성문학회 2006 한국고전여성문학연구 Vol.0 No.12

This article is to look into if there is any cause of change in affectional theme which is told as feature of Sijo in <Nam Hun Tae Pyong Ka> especially in figuration of love. The tendency of popularization of Sijo may have affected figuration of characters when we pay attention to the existing results of discussion that is looking for the value as data of <Nam Hun > ……from 'Bang Kak Bon/ Sijo Chang Kajip. To discuss the character, it is also important to focus on majority and widespread influence and cognition. Of course, by the feature of <Nam Hun ……>that registers neither editors nor writers, the starting point of discussion of characters lies on presupposing both faced song of Sijo in <Nam Hun ……>which is (Sijo) literature and (Sijo) song as well. To Sum up the result of discussion is as follows. First, I examined the basis of new formation of the characters by observing the trend of adaption from existing works. The appearance of new formula phrase which accompanies changes as colloquial closing words is the foundation of formation of the character which aims toward the equality of relationship and refuses closed absorption in love. And this is connected with sympathetic foundation of devotees of Sijo in <Nam Hun ……>who are the demanders of this kind of wording. Next, as a result of observing distinctive aspect of formation of female characters, it appears that female characters is rising to the surface through slight change. Besides, describing female characters as a little tough in Sijo of <Nam Hun ……>and highlighting the character of timid man are meaningful points separately from reality problem on the respect that they break the standard and the ideal of the last period. This is also an aspect in the history of 19 Century's Sijo that appears from popularization supported by the spread of 'Bang Kak Bon' and the simplicity of Sijo Chang. 이 글은 남태 소재 시조의 특징으로 거론되는 주정적 주제화, 특히 사랑의 형상화에 있어 어떠한 변인이 있는지를 인물의 측면에서 살핀 논의이다. 남태의 자료적 가치를 방각본/시조창 가집에서 찾는 기왕의 논의 성과를 주목할 때, 시조 대중화의 경향성은 인물상의 형상화에도 영향을 미쳤으리라 생각한다. 또한 캐릭터를 논의하기 위해서는 소수가 아닌 多衆의 향수를 주목하고 저작권만큼이나 廣布의 영향력과 인지도를 살피는 것도 중요할 것이다. 물론, 編者도 作家도 記名되지 않은 남태의 특성상, 인물상 논의의 출발점은 남태 소재 시조 역시 (시조)문학이면서 (시조)노래인 양면성을 전제하는 데 있다. 논의 결과를 요약하면 다음과 같다. 우선, 기존 작품의 개작 방향을 살펴 새로운 인물상 형성의 토대를 짚어보았다. 구어체 종결어로의 변화를 수반한 새로운 공식구의 등장은 관계의 대등성을 지향하며 사랑에 대한 폐쇄적 몰입을 거부하는 인물상 형성의 기본 토대를 말해주는 것이며, 이는 이러한 어법의 수요자인 남태 소재 시조 향수층의 공감대적 토대와 연결되는 것이다. 다음으로, 여성 인물상 형성의 특징적 양상을 주목한 결과, 지칭의 변화와 같은 사소한 변이를 통해 일상적 여성 인물상의 표면적 부상에 성공하고 있음이 드러났다. 나아가 남태 소재 시조에서 아녀자의 인물상이 다소 우악스럽게까지 형상화된 것과, 소심한 소장부의 인물상이 부각되는 면모는 전대 시조의 규범과 이상형을 깨고 있다는 점에서, 리얼리티의 문제와는 별개로 유의미한 지점이라 할 수 있다. 이는 19세기 시조사에서 방각본가집의 보급과 시조창법의 간편성이 뒷받침되어 나타난 대중화의 한 양상이기도 하다.