朝鮮 詠史樂府의 『西涯擬古樂府』 受容과 한민족사의 시적 형상 = The Acceptance of 『Seoaeuigoakbu(西涯擬古樂府)』 in Yeongsaakbu(詠史樂府) of Joseon Period and the Poetic Image in History of the Korean Race

국문 초록 (Abstract)

명나라 사람 이동양(1447∼1516)은 많은 관직을 거쳐 재상의 지위에 올랐으며 문장과 시를 잘해 ‘다릉시파’의 큰 종장이었다. 그는 『서애의고악부』가 포함된 『회록당집』 100권을 지은 명나라의 중추적인 문인이며 시인이다. 특히 전대와 다른 새로운 체제와 역사적 소재로서 『서애의고악부』를 지어 전대와 다른 악부시의 형상을 나타냈다. 101수의 모든 작품이 ‘제목-사화-원시-사론’의 구성을 하고 있으며, 모든 시들이 역사를 노래한 것이다. 작가가 지은 동기는 옛날 악부가 후대로 오면서 옛 법도나 관례를 답습하고 본 뜻을 회복하지 못하기에 이 폐단을 없애고자 한 것이다. 그리하여 옛 악부의 유풍을 잇는다는 뜻에서 ‘의고악부’라 했지만 역사를 읊었다는 의미로 보면 ‘영사악부’이다.
『서애의고악부』는 1516년 명나라에서 간행한 후 60여년 뒤에 조선에서 이를 수입하여 ‘재주갑인자’로 간행했으며, 후에 목판본으로도 간행하여 많은 사람들이 읽고 감상했다. 그 후 중국에서는 초판이 불타 없어졌지만 한국에서는 조선시대 간행본이 여러 곳에 전해지고 있다.
조선 후기 영사악부작가들은 『서애의고악부』를 수용하여, 체제를 본받아 민족사를 소재로 한 악부시로 형상하였다. 시집명에 ‘해동’ ‘동국’ ‘대동’ ‘기동’ 등의 명칭을 붙인 악부시를 많이 지었다. 이것은 한민족사를 읊은 노래시므로 한국적 ‘영사악부’이다. 심광세(1577~1624)의 『해동악부』, 조현범(1716~1790)의 『강남악부』, 이복휴(1729~1800)의 『해동악부』, 이광사(1705~1777)의 『동국악부』, 권도용(1877~1963)의 『천령악부』등은 작품 서발문에서 『서애의고악부』 체제를 본받아 악부시를 지었다고 밝혔다.
이 외에도 10여명의 작가들 작품이 『서애의고악부』를 위시한 전대의 영사악부의 영향을 받아 지어진 것으로 볼 수 있다. 이것의 공통성은 한민족사를 소재로 채택하여 『서애의고악부』의 ‘제목-사화-시’ 체제를 본받아 자유로운 악부시 표현법으로 다양한 시적형상을 한 것이다. 이러한 현상은 한민족사에 대한 자각, 다양한 시체의 변모, 노래시의 범위 확대, 영사악부의 개념인식, 조선의 중국시집 간행과 보급 등의 의의를 지닌다.

다국어 초록 (Multilingual Abstract)

Lee Dong-yang(李東陽, 1447~1516), who is a person of the Myung dynasty, was promoted to prime minister after passing through many government posts, and was a great master of ‘Dareungsipa(茶陵詩派: poetic sect of Dareung region)’ because of being good at sentence and poetry. He is a pivotal literary man and a poet in the Ming dynasty due to composing 100 volumes of 『Hoerokdangjip(悔麓堂集)』 in which he was included. Especially, he composed 『Seoaeuigoakbu(西涯擬古樂府)』 with new system and historical materials different from the former generations, thereby having indicated the image of song poem different from the former generations. All works of 101 pieces are forming ‘theme-historical storypoem-historical criticism.’ All poems are what sang history. A motive, for which the writer composed, aimed to remove this negative effect because the old Akbu (樂府) followed old law or custom and failed to recover the original meaning while coming to future generations. Thus, it was called as ‘Uigoakbu(擬古樂府)’ in a meaning of following the old custom, but is Yeongsaakbu(詠史樂府: poem of having sung history) given seeing it with a meaning of having recited history.
It was published in the Ming dynasty in 1516, was imported by Joseon following about 60 years, and was issued as ‘Jaejugapinja(再鑄甲寅字),’ was printed even with a block book later, and was read and appreciated by many people. After then, the first edition was burnt to have been gone in China. However, in Korea, the published book in Joseon period is being delivered in many places.
Writers of Yeongsaakbu in the late Joseon accepted 『Seoaeuigoakbu(西涯擬古樂府)』 and made it image as a song poem with having the racial history as material instead of following system. Many song poems were composed, which attached names such as ‘Haedong’ ‘Dongguk’ ‘Daedong’ ‘Gidong’ to the name for collection of poems. This is a song poem that recited history of the Korean race, thereby being Korean-styled ‘Yeongsaakbu(詠史樂府)’. Sim Gwang-se(沈光世, 1577~1624)’s 『Haedongakbu(海東樂府)』, Jo Hyeon-beom(趙顯範, 1716~1790)’s 『Gangnamakbu(江南樂府)』, Lee Bok-hyu(李福休, 1729~1800)’s 『Haedongakbu』, Lee Gwang-sa(李匡師, 1705~1777)’s 『Donggukakbu(東國樂府)』, and Gwon Do-yong(權道溶, 1877~1963)’s 『Cheonryeongakbu(天嶺樂府)』clarified to have composed song poem by following a system with being influenced by 『Seoaeuigoakbu(西涯擬古樂府)』 Seobalmun(序跋文) of a work.
The others ten Writers can be considered to have been composed by the influence of Yeongsaakbu(詠史樂府) in the former generations including 『Seoaeuigoakbu(西涯擬古樂府)』. Commonality in these things is what adopted the history of the Korean race as material, followed the system of ‘theme-historical story-poem,’ and made diverse poetic images with free song-poem expression method. This phenomenon has significances such as the perception on the history of the Korean race, the transformation into diverse verse styles, the expansion in range of song poem, the recognition of a concept in Yeongsaakbu(詠史樂府), and the publication & supply of Chinese collection of poems in Joseon.

목차 (Table of Contents)

• 국문초록
• 1. 서언
• 2. 李東陽의 樂府觀과 『西涯擬古樂府』
• 3. 조선 영사악부의 『西涯擬古樂府』 수용과 시적 형상
• 4. 受容과 詩的形象의 意義
• 5. 결어
• 참고문헌
• ABSTRACT