중국 남동 해역을 누빈 통역가, 로버트 톰(Robert Thom)의 북경관화에 대한 인식 = Robert Thom's perception of Peking Mandarin, an interpreter who traveled through the southeastern seas of China

국문 초록 (Abstract)

로버트 톰(Robert Thom)은 광저우의 영국 무역회사인 자딘 매시선(Jardine Matheson & Co.,)의 직원으로 출발하여 영국 정부의 통역사, 영사까지 지낸 인물로, 19세기 초반 중국 문학 번역을 기초로 한 중국어 교재의 형식을 확립하는데 큰 영향을 미쳤다. 그는 󰡔Wang Keaou Lwan Pih Nëen Chang Han, Or The Lasting Resentment of Miss Keaou Lwan Wang a Chinese Tale(王嬌鸞百年長恨)󰡕(1839)와 같은 문학 번역서를 편찬하는 한편 󰡔Esop’s Fables written in Chinese by the Learned Mun Mooy Seen-Shang(意拾喩言)󰡕(1840)와 같이 이솝우화 텍스트에 주음하기도 했다. 뿐만 아니라, 중국인의 영어 학습, 외국인의 중국어 학습을 모두 고려하여 󰡔Chinese and English Vocabulary, compiled chiefly with a view to facilitate intercourse in the Northern Ports(華英通用雜話)󰡕(1843)를 펴냈고, 최초의 북경관화 저서인 󰡔The Chinese Speaker or Exacts from works written in the Mandarin Language, as Spoken at Peking󰡕(1846)를 편찬하였다. 본 연구에서는 로버트 톰이 편찬한 저서의 체제와 내용을 전반적으로 살펴보고, 중국 남동 해역을 주무대로 삼았던 그가 북경관화를 어떻게 인식하였는지 고찰한다. 또한, 그가 편찬한 북경관화 저서 󰡔The Chinese Speaker󰡕의 주음이 어느 표기에 근거했는지 규명하며, 19세기에서 20세기 사이 서양인들이 편찬한 중국어 교재에서 북경관화에 대한 표기가 어떤 변화 과정을 겪었는지 살펴보았다. 그는 문학작품을 중국어 학습의 수단으로 보았기 때문에, 󰡔Esop’s Fables󰡕에서 각 동화에 광동어 발음을 병기하였을 뿐만 아니라 한자의 원리와 특징, 서체 종류, 방언의 종류와 관화, 정음의 의미를 상세하게 기술하였다. 또한, 󰡔Chinese and English Vocabulary󰡕는 당시 중국어 교재가 광동 방언음만 기록한 것과 달리, 정음(正音)을 기준으로 주음하여 전국 모든 사람들이 사용할 수 있도록 하였다. 󰡔The Chinese speaker󰡕에 나타난 주음은 설근비음을 기존의 ng나 g에서 영성모인 ’로 수정하고, 입성운미 h를 삭제한 소수의 예를 제외하고는 대부분 남경관화에 기초를 둔 모리슨 표기법에 따랐다. 19세기 초반, 로마자 표기법을 조슈아 마쉬맨, 로버트 모리슨, 윌리엄, 밀른, 데이비드 콜리, 월터 메드허스트와 같은 선교사는 남방관화에 기초한 표기를 사용하였으며, 로버트 톰도 역시 이 중 영어 화자가 가장 발음하기 쉽고 가장 권위성을 지니고 있던 로버트 모리슨의 표기법을 따를 수 밖에 없었다. 그러나, 19세기 중반 이후 북경관화는 확실히 중국의 공식적인 방언으로 자리매김하며, 토마스 웨이드의 󰡔尋津錄󰡕, 󰡔語言自邇集󰡕에서 확립된 웨이드식 표기(Wade’s System)가 19세기에서 20세기초까지 북경관화 교재에서 널리 쓰였다. 남방관화 교재가 주를 이루던 19세기 초, 로버트 톰은 󰡔The Chinese speaker󰡕는 최초로 북경관화 교재를 편찬하여 과감한 변혁을 시도했지만, 북경관화의 음운 특징을 드러낼 수 있는 표기법의 부재로 남경관화음으로 표기할 수밖에 없는 시대적 한계성을 드러냈다. 그러나 그의 저작은 19세기 북경관화에 대한 인식과 북경관화의 역사를 고찰할 수 있게 해준다는 면에서 높은 의의를 지닌다.

다국어 초록 (Multilingual Abstract)

Robert Thom came to Guangzhou in 1834 and worked as a senior employee at Jardin Matheson & Co., using his natural language skills to master Peking Mandarin in a short period of time, including the voyage of British captain Thomas Bourchier during the First Opium War, He served as an interpreter during the British military expedition's Broadway expedition, and was recognized as the foreigner who spoke Peking Mandarin best at the time. Although he lived a short life of less than 40, the book he edited, 󰡔Esop's fable󰡕, had a great influence on the compilation of English-Chinese bilingual textbooks in the early 19th century, and showed insight into the definitions of Mandarin and Chinese characters, and the types of Mandarin. In particular, 󰡔The Chinese speaker󰡕 was the first textbook with Peking Mandarin as the title, showing that Peking Mandarin was already recognized as an important object of learning in the early 19th century.
According to Robert Thom, in the early 19th century, Southern Mandarin was based on the Nanking dialect and was recognized as the 'Zhengyin(正音)', but Peking Mandarin gained more popularity and was the official language of government officials, popular among young people. Joseph edkins' 󰡔A grammar of the Chinese language󰡕, Thomas Wade's 󰡔語言自邇集󰡕, Calvin Marteer's 󰡔官話類編󰡕, and Herbert Gile’s 󰡔China and Chinese󰡕 compiled after the mid-19th century were also used Wade’s system. Although there are records showing that Mandarin is recognized as China's standard language, Robert Thom's comments show that Peking Mandarin was already recognized as authoritative in China in the early 19th century.
However, until the early 19th century, the Romanization of Chinese existed only in the Southern Mandarin Chinese that missionaries active in the South came into contact with, and Robert Thom, who was also a representative figure in Chinese language studies at the time, wrote in 󰡔The Chinese Speaker󰡕 using Morrison's notation. Although it targeted representative texts of Peking Mandarin, such as 󰡔正音撮要󰡕, 󰡔紅樓夢󰡕, and 󰡔家寶全集󰡕, it reveals the limitations of compiling Chinese textbooks in the early 19th century, which had no choice but to use Nanking Mandarin notation. It was not until 1859 that the Peking Mandarin notation, which was able to write new phonemes such as /tɕ/, /tɕ'/, and /ɕ/, and new tones such as Shangping and Xiaping tones, was introduced by Thomas Wade, and Peking Mandarin had its scale characteristics. It was equipped with a 'format' that could accurately express, and Wade's notation was used in 󰡔A Chinese and English vocabulary in the Pekinese Dialect󰡕(1871), 󰡔A Chinese-English Dictionary󰡕(1892), 󰡔A Chinese and English dictionary: Arranged according to radicals and sub-radicals with the pronunciation in the Peking dialect according to Sir. Thomas Wade’s system󰡕(1907), 󰡔A pocket dictionary (Chinese-English) and pekingese syllabary󰡕(1923) and its value was widely recognized.
The fact that Robert Thom, who used Guangzhou, Ningpo, and the waters of southern China as the main stage of his activities, had excellent skills in Peking Mandarin, means that Peking Mandarin had authority throughout China. In the early 19th century, when textbooks on Southern Mandarin were dominant, he attempted a drastic change by compiling the first textbook on Peking Mandarin called 󰡔The Chinese Speaker󰡕, but due to the absence of a notation system that could not reveal the phonetic characteristics of Peking Mandarin, he was unable to use Nanking Mandarin. It revealed the limitations of the times that we had no choice but to drink. However, his work is significant in that it became the history of Peking Mandarin, which became the basis for today's Putonghua (普通話) sound, and the beginning of the compilation of Peking Mandarin by Westerners.

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