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Abstract The literary creation of Ci poetry on the Korean Peninsula originated with the work of He Sheng Chao Ying by King Xuanzong of Goryeo. Later generations saw the emergence of renowned masters and masterpieces, forming an important part of the overseas development of Ci poetry alongside Japanese and Vietnamese traditions. In modern times, Goryeo and Joseon Ci have attracted attention from scholars worldwide. For instance, the Korean scholar Ryu Geesoo compiled An Anthology of Korean Ci Through the Ages and The Complete Collection of Goryeo and Joseon Ci, offering a preliminary framework for understanding these works. However, given the vast ocean of historical documents from these dynasties, numerous Ci works and poets remain to be supplemented. By supplementing currently undocumented Goryeo-Joseon Ci and systematically categorizing methodologies for textual recovery, we may promote the study of overseas Ci traditions.Textual supplementation must be grounded in original sources, with exhaustive investigations into extant documents. For literary collections, massive compilations like Korean Poetic Commentaries (Shihua) Series and Annotated Complete Korean Shihua remain to be thoroughly collated. Diplomatic records such as The Records of a Journey to Yan also serve as crucial sources. Beyond major anthologies like A Collection of Korean Literary Works Through the Ages and Compendium of Korean Literary Collections, studies on various editions of authors’ works and rare prints are also the important approaches to textual supplementation. Besides South Korea, Goryeo-Joseon literary collections are available respectively in China, Japan, Europe and America, while some of these Ci works are not even seen in South Korean archives. Non-literary sources, such as historical records like Newly Expanded Gazetteer of the Eastern Kingdom and ritual texts like Rituals for Offering Banquets, also contain valuable traces of Ci music and lyrics, which should never be ignored.The documentation methods of Goryeo-Joseon Ci were shaped by unique conceptual factors such as anthology compilation practices and perceptions of the Ci genre, resulting in significant differences from Chinese Ci traditions. Consequently, when conducting textual supplementation work, it is crucial to establish sensitive and well-defined editorial guidelines tailored to specific documents. The lack of Ci tune titles, extremely common in Goryeo-Joseon literary collections, remains a basic cause of Ci omissions. The practice of composing Eight Scenes suites to the tune of Wushan Yiduan Yun represents a distinctive Goryeo-Joseon creative phenomenon. Scholars often directly used Eight Scenes as headings instead of formal tune titles, thus leading to the failure of some Ci works being enrolled. Ci tune titles placed after subtitles or embedded as marginal annotations frequently result in failed enrollment. Mixed publication of poems and Ci in undifferentiated volumes or simultaneous creation of both genres, if without meticulous scrutiny, will likewise lead to the missed enrollment. The frequent irregular prosody in Goryeo-Joseon Ci very likely causes misinterpretation or neglect of these works. Tune titles misused can also cause failed enrollment, therefore, supplementation and textual corrections are required. In ritual compositions such as ceremonial musical phrases, Ci may be concealed within liturgical recitations and may lack tune titles, causing inadvertent enrollment. Finally, some poets’ works, though absent from their personal anthologies, may have survived in other collections of their literary associates and colleagues.
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Published: 08 October 2025
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