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<body class='hmmessage'><div dir='ltr'>The following two articles by Ki Joong Song would be worth to note for those who are interested in the relationship between Korean and Indian and between Korean and 'Phags-pa writings.<BR>
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"P'akpa('Phags-pa) muncha-wa Hunmin chong'um" 팍바('Phags-pa 八思巴)문자와 訓民正音, Kugo-hak 國語學 No.54 (2009.4.), Kugohakhoe 국어학회, Seoul. pp.17-74. In Korean. <BR>
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"Ancient Indian and Chinese Models of Sound Classification and Their Reflections in the Writing Systems," Scripta, International Journal of Writings Systems (Seoul), Volume 3 (September 2011). pp.25-43. In English.<BR>
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Hwasuri<BR>
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From: werner_sasse@hotmail.com<BR>To: koreanstudies@koreanstudies.com<BR>Date: Sat, 31 Aug 2013 11:36:07 +0000<BR>Subject: [KS] India and Hangeul<BR><BR>
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From: werner_sasse@hotmail.com<BR>To: koreanstudies@koreanstudies.com<BR>Subject: India and Hangeul<BR>Date: Sat, 31 Aug 2013 11:34:48 +0000<BR><BR>
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<DIV dir=ltr>Hi, friends and colleagues,<BR> <BR>In the discussion about a possible Sanskrit/India connection with Hangeul I want to stress a point which has been bothering me for some time. We should leave the design of the letters only a little room in the background, the foreground should be discussing the methodology behind the two inventions. And here I happen to see India--> China--> Korea. Not the shape of the letters: the methodology.<BR> <BR>As the possible Sanskrit/India connection with Hangeul has come up I want to offer for discussion some paragraphs I have prepared for a book on a few aspects of Korean culture wich I hope to have in the press soon (it will be in Korean, but my draft I prepared in English)...<BR> <BR>Here is an excerpt of my draft:<BR> <BR>"<FONT face=굴림> </FONT><SPAN lang=EN-US><FONT size=2><FONT face="맑은 고딕"><SPAN> </SPAN>Indian phonology knew the distinction between consonants and vowels, and we find the same distinction in Hangeul, even emphasizing their different character by the fact that the formation and classification of the two sets of graphemes follows different philosophical principles.</FONT></FONT></SPAN><BR><FONT face=굴림></FONT><BR>
<P class=ecxMsoNormal><FONT size=2><FONT face="맑은 고딕"><SPAN lang=EN-US><SPAN> </SPAN>The great achievement of King Sejong was that he did not follow the Chinese two-way model but divided the rhyme further into vowel and end consonant. This may have been inspired by knowledge of the </SPAN><SPAN lang=EN-US><A title="'Phags-pa script" href="http://en.wikipedia.org/wiki/%27Phags-pa_script" target=_blank><FONT color=#0000ff>'Phags-pa script</FONT></A>, the Tibetan alphabetic script which had been used during the </SPAN><SPAN lang=EN-US>Mongolian </SPAN><SPAN lang=EN-US><A title="Yuan dynasty" href="http://en.wikipedia.org/wiki/Yuan_dynasty" target=_blank><SPAN><FONT color=#0000ff>Yuan dynasty</FONT></SPAN></A></SPAN><SPAN lang=EN-US> (c. 1260-1368), when Goryeo was under Mongolian rule. And the Mongolian <SPAN>Uyghur script also makes a distinction between initial consonant, vowel, and final consonant, but the initial and the final consonants have different forms. It is another one of the great inventions of King Sejong to realize that the two kinds of consonants, the initial and the end consonants of a syllable, are identical even if some of the initial sounds are neutralized in Korean and do not exist in syllable end position.</SPAN></SPAN></FONT></FONT></P><FONT face=굴림></FONT><BR>
<P class=ecxMsoNormal><FONT size=2><FONT face="맑은 고딕"><SPAN lang=EN-US><SPAN> </SPAN><SPAN> </SPAN>In 'Phags-pa the vowels are individual letters which can traditionally be written without initial consonant, but the vowel [a], diphthongs, and the semivowel were written following a zero-sign, similar to vowels in Hangeul following the zero consonant [</SPAN><SPAN>ㅇ<SPAN lang=EN-US>].</SPAN></SPAN></FONT></FONT></P><FONT face=굴림></FONT><BR>
<P class=ecxMsoNormal><FONT size=2><FONT face="맑은 고딕"><SPAN lang=EN-US><SPAN> </SPAN>Another similarity between 'Phags-pa and Hangeul is the convention to combine vowels and consonants to write syllables. Also</SPAN><SPAN lang=EN-US>, in both orthographies the white space between words in a text was of the same size as the white space between syllables within a word, just like the flow of sounds in spoken language. The concept of separating one word from the other was not part of the writing conventions, and so in both orthographies the end of one line could cut through a word (like also Hanmun)<SPAN> </SPAN></SPAN></FONT></FONT></P><FONT face=굴림></FONT><BR>
<P class=ecxMsoNormal><FONT size=2><FONT face="맑은 고딕"><SPAN lang=EN-US><SPAN> </SPAN>Originally Hangeul was a strictly phonetic script, writing the syllables as they were spoken, not the underlying </SPAN>형태소<SPAN lang=EN-US>, like originally </SPAN>바라미<SPAN lang=EN-US> and not like today </SPAN>바람이<SPAN lang=EN-US>. This is also like in 'Phags-pa, cf. the Mongolian word <I>usun</I> “water”, which is written in 'Phags-pa in two syllables <I>u sun</I>, but the three syllable genitive form is written <I>u su nu</I>.</SPAN></FONT></FONT></P><FONT face=굴림></FONT><BR>
<P class=ecxMsoNormal><FONT size=2><FONT face="맑은 고딕"><SPAN lang=EN-US><SPAN> </SPAN></SPAN><SPAN lang=EN-US>The creation of the consonant symbols is explained in </SPAN><SPAN style="COLOR: black" lang=EN-US>the </SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black">訓民正音解例</SPAN><SPAN style="COLOR: black"><FONT face="맑은 고딕"> <SPAN lang=EN-US>as </SPAN><SPAN lang=EN-US>the based on schematic drawings of the human speech organs as they articulate certain sounds, namely </SPAN></FONT></SPAN><SPAN style="FONT-FAMILY: '새굴림','serif'; COLOR: rgb(79,77,75)">아<SPAN lang=EN-US>(</SPAN>牙<SPAN lang=EN-US>)</SPAN>·설<SPAN lang=EN-US>(</SPAN>舌<SPAN lang=EN-US>)</SPAN>·순<SPAN lang=EN-US>(</SPAN>脣<SPAN lang=EN-US>)</SPAN>·치<SPAN lang=EN-US>(</SPAN>齒<SPAN lang=EN-US>)</SPAN>·후<SPAN lang=EN-US>(</SPAN>喉<SPAN lang=EN-US>)</SPAN>음<SPAN lang=EN-US>. </SPAN></SPAN><SPAN style="COLOR: black" lang=EN-US><FONT face="맑은 고딕">The idea to use the point of articulation to classify consonants also goes back to Indian phonology, which was adopted by Chinese scholarship, and then applied by King Sejong to the analysis of Korean. Of course the Indian and the Chinese systems of articulation points are only partially identical with the Korean one, since the languages are different, but the principle to use the point of articulation to classify came from India via China. But then, King Sejong’s idea to use the articulation not only as a tool to classify, but actually base the design of the consonants on an abstract drawing of the manner of articulation is brilliant and one of the aspects which make Hangeul so outstanding among the alphabets of the world.</FONT></SPAN></FONT></P><FONT face=굴림></FONT><BR>
<P class=ecxMsoNormal><FONT size=2><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US><SPAN> </SPAN>Equally brilliant is King Sejong’s idea to systematically apply a simple additional stroke to the basic consonant letters to mark </SPAN><SPAN>유기음</SPAN><SPAN lang=EN-US>(</SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">有氣音</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>)</SPAN><SPAN style="COLOR: black" lang=EN-US>.<SPAN> </SPAN>However, not only </SPAN><SPAN>유기음</SPAN><SPAN style="COLOR: black" lang=EN-US> like </SPAN><SPAN style="COLOR: black">ㄱ</SPAN></FONT><SPAN style="FONT-FAMILY: Wingdings; COLOR: black" lang=EN-US><SPAN>à</SPAN></SPAN><SPAN style="COLOR: black"><FONT face="맑은 고딕">ㅋ<SPAN lang=EN-US> was designed by one additional stroke, also other kinds of “more effort” were marked with one additional stroke, like </SPAN>ㄴ</FONT></SPAN><SPAN style="FONT-FAMILY: Wingdings; COLOR: black" lang=EN-US><SPAN>à</SPAN></SPAN><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US> </SPAN><SPAN style="COLOR: black">ㄷ<SPAN lang=EN-US>, </SPAN>ㅅ</SPAN></FONT><SPAN style="FONT-FAMILY: Wingdings; COLOR: black" lang=EN-US><SPAN>à</SPAN></SPAN><SPAN style="COLOR: black"><FONT face="맑은 고딕">ㅈ<SPAN lang=EN-US>. One could wonder, why the different phonetic features </SPAN></FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'">파렬음</SPAN><SPAN lang=EN-US><FONT face="맑은 고딕">(</FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'">破裂音</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>)</SPAN><SPAN lang=EN-US>/</SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">폐쇄음</SPAN><SPAN lang=EN-US><FONT face="맑은 고딕">(</FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'">閉鎖音</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>)</SPAN><SPAN lang=EN-US>, </SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">접근음</SPAN><SPAN lang=EN-US><FONT face="맑은 고딕">(</FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'">接近音</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>), </SPAN><SPAN lang=EN-US>and </SPAN><SPAN>유기음</SPAN><SPAN> </SPAN><SPAN style="COLOR: black" lang=EN-US>were all designed by the same marker, that is, one additional stroke. The reason, however, seems to lie in the basic idea of “more effort”, which in the </SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black">訓民正音解例</SPAN><SPAN style="COLOR: black" lang=EN-US><FONT face="맑은 고딕"> is called </FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black">厲</SPAN><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US>(</SPAN><SPAN style="COLOR: black">려<SPAN lang=EN-US>) “</SPAN>엄할</SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black">厲</SPAN><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US>, </SPAN><SPAN style="COLOR: black">힘쓸</SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black">厲</SPAN><SPAN style="COLOR: black" lang=EN-US><FONT face="맑은 고딕">. This again goes back to Indian phonology, which had discovered a class of features called </FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black" lang=EN-US>“</SPAN><SPAN lang=EN-US><FONT face="맑은 고딕">Effort of articulation (<SPAN class=ecxunicode><SPAN>Ucc</SPAN></SPAN></FONT></SPAN><SPAN class=ecxunicode><SPAN style="FONT-FAMILY: '바탕','serif'" lang=EN-US>ā</SPAN></SPAN><SPAN class=ecxunicode><SPAN lang=EN-US><FONT face="맑은 고딕">ra</FONT></SPAN></SPAN><SPAN class=ecxunicode><SPAN style="FONT-FAMILY: 'Courier New'" lang=EN-US>ṇ</SPAN><SPAN lang=EN-US><FONT face="맑은 고딕">a Prayatna</FONT></SPAN></SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>)”, in which were </SPAN><SPAN lang=EN-US>two </SPAN><SPAN lang=EN-US>subclasses. The first was called : “External effort<SPAN> (B</SPAN></SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'" lang=EN-US>ā</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>hya Prayatna)”,<B> </B>grouping </SPAN><SPAN>파렬음<SPAN lang=EN-US>(</SPAN></SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">破裂音</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>), </SPAN><SPAN>접근음<SPAN lang=EN-US>(</SPAN></SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">接近音</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>), and </SPAN><SPAN>마찰음</SPAN><SPAN lang=EN-US>(</SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">摩擦音</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>)</SPAN><SPAN lang=EN-US>, and the second was called “Internal effort (<SPAN>Abhyantara Prayatna</SPAN>)”: with the subclasses of </SPAN><SPAN>무기음 <SPAN lang=EN-US>(</SPAN></SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">無氣音</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>),</SPAN><SPAN lang=EN-US> </SPAN><SPAN>유기음</SPAN><SPAN lang=EN-US>(</SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">有氣音</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>), </SPAN><SPAN>무성음<SPAN lang=EN-US> (</SPAN></SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">無聲音</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>), and </SPAN><SPAN>유성음</SPAN><SPAN lang=EN-US>(</SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">有聲音</SPAN><SPAN lang=EN-US><FONT face="맑은 고딕">). All these </FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black" lang=EN-US>“</SPAN><SPAN lang=EN-US><FONT face="맑은 고딕">Efforts of articulation” were seen by King Sejong just like in the Indian phonology as one and the same kind of phonetic feature, which he explained as “</FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black">厲<SPAN lang=EN-US>”</SPAN></SPAN><SPAN style="COLOR: black" lang=EN-US><FONT face="맑은 고딕">, and were marked by the same genial design feature, one simple additional stroke</FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black" lang=EN-US>…</SPAN><SPAN style="COLOR: black" lang=EN-US><FONT face="맑은 고딕">.</FONT></SPAN></FONT></P><FONT face=굴림></FONT><BR>
<P class=ecxMsoNormal><FONT size=2><SPAN style="COLOR: black" lang=EN-US><FONT face="맑은 고딕"><SPAN> ...</SPAN>I want to add just one last remark which shows that the authors were very much aware of the India </FONT></SPAN><SPAN style="FONT-FAMILY: Wingdings; COLOR: black" lang=EN-US><SPAN>à</SPAN></SPAN><SPAN style="COLOR: black" lang=EN-US><FONT face="맑은 고딕"> China </FONT></SPAN><SPAN style="FONT-FAMILY: Wingdings; COLOR: black" lang=EN-US><SPAN>à</SPAN></SPAN><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US> Korea connection in phonological research. </SPAN><SPAN>정인지</SPAN><SPAN lang=EN-US>(</SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">鄭麟趾</SPAN><SPAN style="COLOR: black" lang=EN-US><FONT face="맑은 고딕">) in his </FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black">序</SPAN><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US> to the </SPAN><SPAN style="COLOR: black">훈민정음해례 <SPAN lang=EN-US>wrote “</SPAN></SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'">雖風聲鶴唳鷄鳴狗吠</SPAN><SPAN><FONT face="맑은 고딕"> </FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'">皆可得而書矣</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US> (</SPAN><SPAN>바람소리<SPAN lang=EN-US>, </SPAN>학의 울음소리<SPAN lang=EN-US>, </SPAN>닭 우는 소리<SPAN lang=EN-US>, </SPAN>개 짖는 소리일지라도 모두 이 글자를 가지고 적을 수가 있다</SPAN><SPAN lang=EN-US>). The first part of this sentence is actual</SPAN><SPAN style="COLOR: black" lang=EN-US>ly a direct quote with a minor rearrangement from the preface of the Qiyin lüe (</SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black">七音略</SPAN><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US>, kor. </SPAN><SPAN style="COLOR: black">칠음략<SPAN lang=EN-US>), </SPAN></SPAN><SPAN style="COLOR: black" lang=EN-US>a rhyme table </SPAN><SPAN style="COLOR: black" lang=EN-US>by Zheng Qiao (</SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black">鄭樵<SPAN lang=EN-US>, </SPAN></SPAN></FONT><SPAN style="COLOR: black" lang=EN-US><FONT face="맑은 고딕"><FONT size=2>early 12<SUP>th</SUP></FONT><FONT size=2> century</FONT></FONT></SPAN><FONT size=2><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black" lang=EN-US>)</SPAN><SPAN style="COLOR: black" lang=EN-US><FONT face="맑은 고딕">, where it reads </FONT></SPAN><SPAN style="FONT-FAMILY: '바탕','serif'">雖鶴唳風聲鷄鳴狗吠</SPAN><FONT face="맑은 고딕"><SPAN lang=EN-US>. </SPAN><SPAN style="COLOR: black" lang=EN-US>In this preface </SPAN><SPAN style="COLOR: black" lang=EN-US>Zheng Qiao</SPAN><SPAN style="COLOR: black" lang=EN-US> highly praised the deep phonological knowledge of Buddhist monks, and it is obvious that </SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black">정인지</SPAN><FONT face="맑은 고딕"><SPAN style="COLOR: black"> </SPAN><SPAN style="COLOR: black" lang=EN-US>quoted this sentence not as a sudden poetic twist in his </SPAN></FONT><SPAN style="FONT-FAMILY: '바탕','serif'; COLOR: black">序</SPAN><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US> but as an only slightly hidden hint pointing to the tradition of Indian phonology transmitted by Buddhist monks. "</SPAN></FONT></FONT></P>
<P class=ecxMsoNormal><FONT size=2><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US></SPAN></FONT></FONT> </P>
<P class=ecxMsoNormal><FONT size=2><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US>This much, let's see a discussion...</SPAN></FONT></FONT></P>
<P class=ecxMsoNormal><FONT size=2><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US></SPAN></FONT></FONT> </P>
<P class=ecxMsoNormal><FONT size=2><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US>Best,</SPAN></FONT></FONT></P>
<P class=ecxMsoNormal><FONT size=2><FONT face="맑은 고딕"><SPAN style="COLOR: black" lang=EN-US>Werner Sasse</SPAN></FONT></FONT></P><FONT face=굴림></FONT><BR>
<P class=ecxMsoNormal><SPAN lang=EN-US><FONT size=2 face="맑은 고딕"> </FONT></SPAN></P><FONT face=굴림></FONT><BR></DIV></DIV></DIV></DIV> </div></body>
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