訓民正音의 易學的 硏究 = A Philosophical Study of Korean Alphabet Hunmin cho˘ngum
저자
李正浩 (忠南大學校 文理科學大)
발행기관
학술지명
권호사항
발행연도
1972
작성언어
Korean
KDC
104.000
자료형태
학술저널
수록면
5-42(38쪽)
중단사유
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소장기관
There is no need to quote Tagore in order to show the light of culture dawned early in Korea. The invention of language for th transmission of ideas was one of the earliest achievements of humanity, but the creation of writing belongs to more recent history. In Korea it dates from the Three Kingdoms period. There are legends of the Sinji's writing used in the era of Tan'gun, but that theory can be supported by no evidence; the earliest Korean writing certainly known to us is the idu of Silla. Idu, however, consisted of borrowed Chinese characters, used sometimes according to their sound and sometimes according to them meaning, so that the system of writing Korean with it was difficult and ambiguous both to reader and to judge. When Sejong, fourth king of the Ye dynasty, took account of the nation's needs and applied his skill and imagination to the creation of Hunmin-choˇngum, an alphabet of 28 letters, he not only satisfied a need that had gone untended for thousands of years, but laid foundations for the development of Korean culture.
The principles on which Sejong relied most heavily in creating his new alphabet were derived from the study of the Book of Changes and the synthesized philosophy of Sung confucianism. The king's exhaustive concern for the study of the confucian classics and special interest in philosophy left a deep impression on the brilliant culture which he inspired, but above all on his achievement in inventing the alphabet. Both the forms and the meaning of the Book of Changes are shown in its letters: the forms in the shapes of the five basic elements of the initial consonants and the three elements of the vowels; and the meaning in the method of indicating the aspiration and reduplication of the sounds. the relation between labials and nasals, the relations between the various aspirates and the placing of the basic elements of the letters in the writing of the vowels. Thus the letters have an intrinsic philosophical value and, furthermore, their five and three fundamental elements are consonant and vowel with a principle of maintaing the forms of Chinese old seal script.
The actual pronunciation of the sounds is indicated by relation of the speech organs to the theory of the five elements as applied to the parts of the human body; and the correspondence of the throat to heaven, the lips to earth, and the movements of speech to the variations between. The precision and accuracy with which this imaginative scheme was carried out are astonishing. The letters reflect the whole theory of yin and yang; the relations of heaven, earth and man; and the Great Extreme as the ground of the Five Elements…in fact the whole gamut of the extended theory of the Book of Changes. The present author's contention is that there can be no question that Sejong consciously used this theory in the creation of his twenty-eight letters.
Next, the author deals in order with the five basic elements of the initial consonants and the three elements of the vowels, explaining their significance in terms of the philosophy of the changes, and proceeds to study plane and three-dmensional diagrams of these five forms and of the eleven vowels, so as to explain their meanings and to examine the relationships between the two groups.
Finally the author goes on to demonstrate the correspondence between the parts of the Book of Changes and the arrangement of the Korean alphabet. Both show the essential harmony of the philosophical theory involved, and thus the Hunmin Choˇngum proves to be not merely a treatise on language, but also a treatise on philosophy in its own right. Just as the Book of Changes in China developed a mature philosophy from the primitive trigrams, so the Choˇngum was developed in Korea as a mature philosophy of speech and writing based on the same philosophical principles. Other aspects of the Korean alphabet, including the juxtaposition of letters, euphonic changes, and the theory of the four tones as applied to Korean are all related in the same way to the same principles.
The author concludes that
(1) the choˇngum was created by Sejong himself;
(2) the twenty-eight letters were based on the forms of the speech organs and on the similarities to the old seal characters;
(3) the choˇngum is a treatise on the philosophy of changes;
(4) Sejong was a true sage, born in Korea;
(5) the value of the choˇngum is enhanced by its philosophical content.
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