최석정의 ?훈민정음준황극경세사상체용지수도?와 소옹의 ?성음창화도?의 비교 연구

Abstract

Shao Yong’s Shēngyīnchànghétú was introduced to the Korean peninsula in the 15th century with the spread of Xìnglǐdàquán. Shao’s ideological thought had a significant influence on the Chŏsun literati. Ch’oe Sŏk-chŏng was among them, and his phonological work called Kyŏngsehunminjŏngŭmdosŏl is strongly connected with Shao’s ideological thought. To understandKyŏngsehunminjŏngŭmdosŏl, one must analyze Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm as it is the core part of Kyŏngsehunminjŏngŭmdosŏl. As Ch’oe said that he edited Shao’s Shēngyīnchànghétú according to an “Old Sound” when designing Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm, this paper aims to compare the two works directly to discover their phonological relationship. Through this comparison, it was found that Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm is composed of two levels, which are a “Contemporary Sound (particular to the Northern Song dynasty)” and the “Old Sound.” The “Contemporary Sound” is consistent with the characteristics of Shao’s Shēngyīnchànghétú, such as the merger of Guǒ(果)·Jiǎ(假) rhymes, Gěng(梗)·Zēng(曾) rhymes, Shān(山)· Zhēn(臻) rhymes, and Zhǐ(止)·Xiè(蟹) rhymes respectively. In contrast, its “Old Sound” kept the traits of the traditional Chinese rhyme dictionary Guǎngyùn. For example, it maintained the coda of entering tones, and the full-voiced sounds did not change into clear sounds. Additionally, nasal coda rhymes were paired with entering tone rhymes in Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm, which is also consistent with Guǎngyùn.