Anthologies of Neunghogwan(凌壺觀) Lee Insang(李麟祥, 1710∼1760) exist in several versions including Neunghojip(凌壺集), which is the printed edition(刊本), and Noesanggwango(雷象觀藁), which is the surviving manuscript(筆寫本) belonging to the descendent family.
Examining Neunghojip and Noesanggwango side by side reveals that, in addition to the fact that Noesanggwango embodies the literary world of Lee Insang more comprehensively, Neunghojip excludes important parts of his literary world. Therefore, this study examined what parts were omitted in Neunghojip, and why such omissions occurred.
Omissions of certain parts of Noesanggwango in editing Neunghojip seemed to have been based on principles which I categorized into four: “suppression of the characteristics as a concubine’s son”, “exclusion of reference to Toegye(退溪)”, “elimination of Taoist(道仙的) tendencies”, and “reduction of the tastes for material goods and illustrated calligraphy(書畵器物)”. The editor of Neunghojip, Yoon Myeon-dong(尹冕東, 1720∼1790), did not fabricate the characteristics of the author, but delicately modified his true personality by marginalizing the four aspects through editing. By doing so, Yoon Myeon-dong aimed to project his own class and factional perspectives on the edition of Neunghojip, to embody the ideology of the nobility, and ultimately to acclaim(顯彰) him as the ideal loyalist out of office(義理型 處士). Such editorial perspective, propelled primarily by his personal urge, corresponded with the atmosphere of the time, which was a period of royal succession from King Yeongjo to King Jeongjo. As a result, Yoon could complete the publication with the financial support from Kim Jongsu(金鍾秀, 1728∼1799), who represented the core political group at the time.