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베트남 설화 <금구전(金龜傳)>과의 비교를 통해 본 <호동왕자와 낙랑공주>의 문학치료적 의미
하은하 ( Ha Eun-ha ) 한국고전문학교육학회 2011 고전문학과 교육 Vol.22 No.-
In this paper, < Geumgujeon > of Vietnam folklore and < Prince Hodong and Princess Nakrang > are compared. Purposes are two in this paper. Firstly, narrative characteristics of < Prince Hodong and Princess Nakrang > will be clarified. This purpose is based on the ideas that two folklores have the same narrative structure. Secondly, in a same narrative type, location of < Prince Hodong and Princess Nakrang > will be estimated, and meaning of literary treatment will be searched. The results are as follows: Firstly, < Geumgujeon > and < Prince Hodong and Princess Nakrang > have the structure that father-son relations has intervened to husband-wife relations and husband-wife relations leads to catastrophe. Prince Hodong had lived in son's position even after he was married. He had been trying to obtain recognition of his father, but he lost his wife, Princess Nakrang, and he killed himself. Princess Nakrang had thought wife's position after marriage. So she had destroyed weapons of Nakrang-nation. Secondly, to estimate location of < Prince Hodong and Princess Nakrang > in a same narrative type, two other folklores are compared to that. < Bride and groom to pocket wealth of wife's parents > and < husband and wife eating gruel for ten years > differ in coping methods, though problematic situation is similar to < Prince Hodong and Princess Nakrang > In the two folklores, if father-son relations has conflict to husband-wife relations, would be concentrated. husband and wife had fallen under suspicion of undutiful son, but they became rich and all misunderstanding with parents were cleared up.
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조용호 한국고전연구학회 2020 한국고전연구 Vol.0 No.50
In studies of Gongmudohaga, most researchers had hitherto regarded Gogeumju(by Choi Pyo) as a main text, not Geumjo(by Chae Ong), even though Gogeumju was written later than Geumjo and the former did not record the lyrics of Gongmudohaga. I thought, this was a wrong routine and must had been corrected. Therefore, I first tried to corroborate whether the song were directly derived from the tale in Geumjo. For this first purpose, I analyzed the tale in terms of a sentence structure of the original text written in classical Chinese and a rationality of unfolding events in the tale. As a result, I ascertained that the wife of 'Gwangbu(crazy man)' was drowned earlier than him and he sang the song and drowned after seeing his wife's death with his own eyes. Based on this result, I secondly tried to demonstrate that the song Gongmudohaga was a longstanding oral ballad having been occurred from a universal human life irrelevant to the background story in the literature. This judgment led to the conclusion that the meaning of the song should be interpreted on its own, separate from the tale. In analyzing the lyrics of song, I focused on letters used in the song and the stream of poetical imagination. Especially, I translated '公(Gong)' as 'Thou(그대: a title of respect normally used)', and '墮(Ta)' as the meaning of falling into the river of death by linking it to '河(Ha: river). Gongmudohaga's subject consciousness was involved in the original mind such as the fear of death, which was an inscrutable phenomenon, and the curiosity of the posthumous world. So, I thought it must have been created before the religious beliefs of posthumous world were established. For this reason, the song could have been widely spread over a long period of time, and eventually it would have been known to China and recorded in the literature. 지금까지의 <공무도하가> 연구는 이 노래를 수록한 현전 최고의 문헌인 채옹의 『琴操』가 아니라, 후대의 문헌인 최표의 『古今注』를 주된 텍스트로 하여 진행되었다. 심지어 『고금주』에는 노랫말이 실려 있지 않은데도 말이다. 나는 이런 잘못된 관행을 바로잡기 위하여, 『금조』를 대상으로 우선 거기에 수록된 설화가 노래 발생의 직접적인 배경인지를 먼저 확인하고자 하였다. 방법적으로는 문장구조와 사건 전개 상황에서의 합리성 여부에 주된 관심을 가지고 설화를 분석하였다. 그 결과 먼저 물에 빠져 죽은 인물은 광부의 처였고, 그 사건을 목격하고 노래를 부른 것은 광부라는 사실을 확인했다. 이를 토대로 <공무도하가>의 발생은 문헌에 기록된 배경설화와는 무관하며, 전승의 역사가 매우 오랜 구전가요였을 것이라고 확신하게 되었다. 이런 판단은 노래의 의미는 설화와 분리된 채 자족적으로 해석되어야 한다는 결론으로 이어졌다. 노래를 분석하면서는 사용된 문자와 시상의 흐름에 주목했다. 특히 ‘公’은 범칭의 경어인 ‘그대’로, ‘墮’는 ‘河’와 연결하여 사람이 죽음의 강에 떨어지는 것으로 이해했다. 이 노래는 불가지한 현상인 죽음에 대한 두려움과 사후에 대한 궁금증 등 원초적인 심리를 주제의식으로 담고 있으며, 내세 관념이 정립되기 이전에 생성된 것으로 여겨진다. 이런 이유로 오랜 동안을 불리면서 광범위하게 전파될 수 있었고, 종국에는 중국인들에게까지 알려져 문헌에 수록될 수 있었을 것이다.
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