손진태의 조선고가요집 연구

Abstract

The purpose of this paper is to study the Joseongogayojip published in 1929 by Namchang Jin-tae Son(1900~?) in Japan. Joseongogayojip was published by a Korean folklorist and a historian named Jin-tae Son in Toko-Shoin in Tokyo, Japan, and was an anthology translating 558 pieces of Sijo into Japanese. I examined the motivation and purpose of the compilation of this anthology, and perception of Sijo by Jin-tae Son through an in-depth study of both a preface and an epilogue, and a introduction written by Jin-tae Son. At first, I reviewed the writings of the preface and the epilogue of four Japanese scholars who gave a great influence to Jin-tae Son during the compilation process of the Joseongogayojip and their perception on the culture of Joseon Dynasty and Joseongogayo. Japanese scholars-Kubota Utsubo, Tsuda Sokichi, Ishida Mikinosuki, and Maema Kyosaku-pointed out that Joseon literature was distinct itself in the field of literature and it was meaningful to inform it to Japan. In addition, it was of great help for them to know the life of Japanese ancestors at that time by studying Joseon classical poetry. Jin-tae Son wrote a foreword before introducing his work, which was similar to the text preceding the main body of the text these days. The ideas of Jin-tae Son related to the compilation of the book was described in detail by categorizing 11 items. I studied the two perspectives in the preface, the information on the names, types, formats, dates, and contents of the original poetry and the comment on the composition and translation of the book. Jin-tae Son proved the originality of Joseon literature, and Joseon literature proved to be no imitation of Chinese literature through Joseongogayojip. There was a book introducing Joseongogayo in Japanese at the same period of time, but Joseongogayo most effectively showed a great amount of Sijo, totaling 558 pieces. In addition, it showed the characteristics of Joseon by placing the works by the anonymous person and highlighted the poetic beauty of the works by the known person. However, translations were mainly focused on delivering contents, not the rhythm of the poetry and could not publish the original Korean text due to the historical circumstances.