영사악부의 「薛氏女」, 「都彌妻」傳의 受容·傳承 양상

김영숙 慶北大學校 退溪硏究所 2004 退溪學과 韓國文化 Vol.- No.34

한국에서 가장 오래된 삼국의 역사책은 삼국사기이다. 이 책의 열전에 실려 있는 「설씨녀」전과 「도미처」전은 여성의 신의와 정절을 포양한 열녀전적 성격을 지니고 있다 이들 전은 문학성이 짙어 영사악부로 변용된 예가 많다 설씨녀전을 수용 전승한 영사악부 작가와 작품으로는 李瀷의 「破鏡詞」, 林昌澤의 「嘉郞歌」, 南克寬의 「破鏡詞」, 吳光運의 「破鏡合」, 李匡師의 「破鏡合」, 趙宗鉉의 「破鏡信」, 李令翊의 「破鏡詞」李福休의 「破鏡詞」가 있다 도미처전을 수용 전승한 작가와 작품으로는 沈光世의 「再請妻」, 金壽民의 「都彌妻」, 李福休의 「都彌妻」가 있다. 설씨녀전 관련 작가의 작품들을 상호 대비해 보면 傳의 형태를 악부시 형태로 변용시켜 수용 전승한 공통성과 작품의 형식과 내용을 다르게 한 차별성이 나타난다. '파경'부분을 확대해서 수용 전승한 점, 작가들이 작품 속에서 설씨녀를 대신해 시적 화자로 등장하거나 때로는 객관적 입장으로 돌아와 설씨녀와 가실을 포양한 점, 전에는 없는 달을 첨가하여 달과 거울을 조응적 상징으로 다룬 점도 대체적인 공통성이다. 이익은 전반부의 '둥근 달/이지러진 거울'과 후반부의 '둥근 거울/이지러진 달'의 대비를 통해 설씨녀와 가실의 영원한 화합을 노래시로 전승하였다. 임창택은 설씨녀의 입장에서 가실을 노래하는 방법을 택했다. 남극관은 파경한 사실과 6년이 되어도 돌아오지 않는 사실을 수용 전승했다. 이광사는 전의 내용을 상징과 상상으로 확대 첨가하여 5언 228구의 장편을 썼다. 조종현은 7언 4구의 형식을 써서 가실을 포양했다. 이영익은 5언 14구의 제언체 형식을 택해 은유적·함축적으로 전을 수용 전승했다. 이복휴는 형식과 내용이 서사, 본사, 결사로 쉽게 구분되게 했다. 도미처전 수용 전승 작가들도 산문인 전을 자유로운 운문시인 악부시로 변용하여 수용 전승하려는 전승 의식이 있었기에 작품을 썼다. 제목에 '처'를 붙여 도미 아내를 중점적으로 노래했다. 심광세는 개루왕을 폄자하고 도미처를 포양하여 문학성, 역사성을 강조해서 수용 전승했고, 김수민은 잡언구를 이용해 전체를 순차에 맞게 수용 전승했다. 이복휴도 왕의 난행과 이를 피하기 위한 도미처의 지략을 중점적으로 수용 전승했다. 전은 수용 전승한 여러 가지 악부시는 조선 당대인들은 물론 후인들에게도 여성의 신의와 정절을 권면하고, 여성을 억압하고 지배하는 남성들에게 감계를 보내는 기능을 하고 있다. The oldest history book in Korea is Samgooksagithe(三國史記) history book for the Three Kingdom era. Both 'the story of Miss Seol' and 'the story of Domi's wife' depicted lives of women with chaste reputation honoring the faith and chastity, and transformed into youngsaakbu(詠史樂府) due to their charms as a literature. The writers and their works adopting the story of Miss Seol' include Ik Lee(李瀷)'s Pagyungsa(破鏡詞), Changtaek Lim(林昌澤)'s Garangga(嘉郞歌). Geokgwan Nam(南克寬)s Pagyungsa(破鏡詞), Gwangoon Oh(吳光運)'s Pagyunghap(破鏡合), Gwangsa Lee (李匡師)'s Pagyunghap(破鏡合). Jonghyun Jo(趙宗鉉)'s Pagyungsin(破鏡信), Youngik Lee(李令翊)'s Pagyunghap(破鏡合), and Bokhyu Lee(李福休)'s Pagyungsa(破鏡詞). The writers and their works adopting 'the story of Domi's wife' include Gwangse Sim(沈光世)'s Jaejungcheo(再請妻), Sumin Kim(金壽民)'s Domicheo (都彌妻). and Bokhyu Lee(李福休)'s Domicheo(都彌妻). When the works adopted from 'the story of Miss Seol' are compared, the similarity is that they all changed a verse into proseakbusi and the difference is that the type and content of its original story are somewhat changed. Some common changesare that they focus on the broken mirror in the story, that the storytellers are shown instead of 'Miss Seol' to tell a storyor they maintain an objective viewpoint to praise Miss Seol and Gasil. and they add the moon and a mirror which were not included in the original story. Ik Lee transformed the story into a song of eternal harmony of Miss Seol and Gasil by comparing the full moon and broken mirror in the beginning and a round mirror and the waning moon. Changtae Lim chose to view Gasil in the point of Miss Seol. Geokgwan Nam focused on the broken mirror and it was missing for 6 years. Gwangoon Oh stressed the part that Gasil and Miss Seol were separatedand reunited. Gwangsa Lee made a longer version of story by adding his imagination and symbols with 5 uen 228 gu (228 lines verse with five characters to each line). Jonghyun do describedGasil with 7 uen 4 gu (4 lines verse with 7 characters to each line) Youngik Lee adopted the epigraphic type of 5 uen 14 gu (14 lines verse with 5 characters to each line) to transform the story with metaphors Bokhyu Lee classified the story into the preface, the body. and the conclusion The writers who accepted and transmitted 'the story of Domi's wife' also turned a verse into prose They focused on 'the wife' by including Choe (wife) in titles. Gwangse Sim judged King Gaeru and praised Domi s wife with the senses of literature and history Soomin Kim told the story in chorological orders using miscellaneous words. Bokhyu Lee also focused on the outrages of the king and the wisdom of Domi's wife to avoid his wrongful order. The various akbusi adapted from the story also had functions to encourage the faith and chastity for women and educate men who are the oppressor of women.

고려인 극작가 연성용의 고전수용 양상 : 「창곡이와 홍란」·「지옥의 종소리」를 중심으로

조규익 한국근대문학회 2012 한국근대문학연구 Vol.13 No.2

Chang’gok and Hongran, Bell sound from the Hell of the dramas by Yeon, Seong-Yong are works adapted for plays from the classic novel or folk story. Chang’gok and Hongran is a drama adapted from Okrumong, Bell sound from the Hell is from the folk story Seolssinyeo. Chang’gok and Hongran is a unique product of the ideological space which the writer belonged to. The writer succeeded to make the characters typical, protesting against the ugly features of the ruling class and corruptive reality of the old society, as well as depicting the hero leading the way to save the people and dynasty in crisis from 17^th to 18^th century. The writer wanted to realize his own ideology through the realistic stories, not with the religious teaching or fantastic interesting from the novel like Okrumong. He wanted to show meliority of his own ideological space, emphasizing real state of exploitation by the ruling class like King, Hwang, Yeo-Ok, the Minister Hwang, the Minister Song, the Minister Roh as the antagonists, eventually showing defeat by the protagonists centering around the people of the lower classes. Bell sound from the Hell adapted from the old folk story Seolssinyeo is a tragic drama showing the contrasting aspect with Seolssinyeo as a happy-ending story. In this drama, writer intended to outweigh oppression of the ruling class in the dynasty with making the national factions fighting and driving the people to the battlefield. To depict their life as continuity of misery is only a method to maximize the contradiction and absurdity of the ruling class. With inserting the political and ideological terms like fighting between brothers, carnage by war, struggle for hegemony, separation of South and North Korean families, offsprings of Tan-gun, we can consider this drama as a newly created work. The reason why the writer could not help inclining to North Korea ideologically, even if he knew the reality of his homeland fighting with each other, shows real circumstances of the region which emotion of Kareiskys participated in the 6·25 War only for North Korea’s purpose. Like this, the key figures in the Kareisky literary or artistic circles including Yeon, Seong-Yong concerned about their motherland’s ideological future direction and understood it was effective to tuck in the stage the classical works reinterpreted ideologically aimed at emphasizing and scattering the excellency of their system or ideology. We can say that the traditional practice of the Kareisky’s artistic circle at that time made a new genre’s works after reinterpreting and adapting classic works are elucidated in this point. 연성용의 희곡들 가운데 본고의 분석 대상인 「창곡이와 홍란」, 「지옥의 종소리」 등은 우리의 고전을 재창작의 수준으로 각색하여 만든 작품들이다. 「창곡이와 홍란」은 『옥루몽』을, 「지옥의 종소리」는 설화 「설씨녀」를 각각 각색한 희곡이다. 「창곡이와 홍란」은 『옥루몽』과 달리 작자가 속해 있던 이념 공간의 독특한 산물이다. 작자는 이 작품에서 ‘17~18세기 봉건사회의 부패상과 봉건 지배층의 추악한 면모에 저항하고 위기에 빠진 민중과 나라를 구하기 위해 서슴없이 앞장 서는’ 주인공을 그려냄으로써 인물의 전형화에 성공했다. 그리고 종교적 가르침이나 환상적 흥미를 강조하는 『옥루몽』과 달리 시간과 공간을 지상계로 한정하여 현실적인 이야기를 통해 자신들의 이념을 구현하고자 했다. 반동인물로 등장하는 ‘임금·황여옥·황승상·송각로·노상서’ 등 지배계층이 민중을 착취하는 모습을 부각시키고, 결국 그들이 피지배계층 중심의 주동인물들에게 패배한다는 것을 보여줌으로써 작자 자신이 속한 이념 공간의 우월성을 보여주고자 한 것이다. 고전 설화 「설씨녀」를 각색한 「지옥의 종소리」는 해피엔딩인 「설씨녀」와 대조적인 양상을 보이는 비극이다. 작품에서 작자는 한 민족이 여러 나라로 갈라져 싸움을 벌인다거나, 백성들을 전쟁터로 몰아감으로써 이별의 슬픔에 잠기게 하는 등 봉건 지배계층의 횡포를 부각시키려는 의도를 보여주고 있다. 불행한 삶을 영위하다가 불행하게 삶을 끝내는 것으로 그려내는 것이 지배계층의 모순과 부조리를 극대화할 수 있는 유일한 방법이었다. ‘형제간의 싸움’, ‘살육전쟁’, ‘패권쟁탈’, ‘부모형제 간 남북이산’, ‘단군의 자손’ 등 근대 이후에 등장한 정치적·이념적 용어들을 요소요소에 삽입함으로써 이 작품은 실제 설화에 대한 각색이나 재해석의 수준을 뛰어넘는다. 남북이 서로 총부리를 겨누고 있는 조국의 현실을 알고 있을 작자가 이념 상 소련이나 북한에 기울 수밖에 없었던 것은 ‘북침 전쟁으로 알고 6·25에 참전했던 고려인들의 정서’가 1980년대 초반까지도 그들의 의식을 지배하고 있던 당시 그 지역의 사정을 보여준다. 이처럼 연성용을 비롯한 초기 고려인 문단이나 예술계의 핵심인사들은 조국의 이념적 향배에 큰 관심을 갖고 있었으며, 자신들이 속해 있는 체제나 이념의 우수성을 강조·확산하기 위해 고전 작품이나 설화를 이념적으로 재해석하여 무대에 올리는 것이 효율적임을 알고 있었다. 고전을 재해석·각색하여 새로운 장르의 작품으로 만들어내던 당시 그곳 예술계의 관습 역시 이 점에서 해명된다고 할 수 있다.

영사악부의 「설씨녀(薛氏女)」, 「도미처(都彌妻)」전(傳)의 수용(受容),전승(傳承) 양상

김영숙 ( Young Sook Kim ) 경북대학교 퇴계학연구소 2004 퇴계학과 유교문화 Vol.34 No.-

이광사의 「파경합」구성과 삼국사기 「설씨녀」전 수용,전승 양상

김영숙 ( Young Sook Kim ) 한민족어문학회 2004 韓民族語文學 Vol.45 No.-

『Seolssinyeo』 one of short stones in《Samguksagi》is life history that real person and events were recorded. of Lee Gwang_Sa`s 『Pagyeonghap』 is poem of Sings history that accepted the life history of 『Seolssinyeo』 written with 501 letters, and transmitted It to long epic consisted of 5 paragraphs 228 stanza and 1140 letters. The historical dialogue written m the early part of the work as short preface accepted and transmitted only important core contents of the hero and event Considering of Its development of individuals and events, 『Pagyeonghap』 is consisted of 18 paragraphs. When integrating these and examining sterically, the formation is shown as follows; firstly, the most basic formation of prologue-main-epilogue; secondly, the formation of present-past-present, thirdly, the formation of meeting-parting-meeting, fourthly, concord-discord-concord; fifthly, devotion-violence-devotion 『Pagyeonghap』 shows the formational characteristics through various kinds of poetic speaker; the writer intervenes in the work and speaks in the standpoint of the writer, Gashil, Mr.Seol and the daughter instead of them. The aspect of acceptance and transmission of 『Seolssinyeo』. in 『Pagyeonghap』. is brought out from the subject. When comparing the paragraph in the life history with the paragraph in the work, aspect of acceptance and transmission came out. It changed important event on the whole expansively, and shows newly created scene by making up content that does not exist in the life history.

신라 중고기의 부방(赴防)과 군역

이정빈(Lee, Jeong-bin) 한국역사연구회 2015 역사와 현실 Vol.- No.97

Examined in this article is ‘who’ were actually required to report for military duties in the mid-ancient period of Shilla. It was the mid-ancient period when the Shilla government started to mobilize its citizens in military duties, and the people who were subjected to such calling were usually believed to have been the local population. But it seems that was only true in case of mobilizations during wartime, and a somewhat different principle might have been applied in peacetime situations. In that regard, we should take a loot at the concept of ‘Bubang(赴防),’ described in a story of a female with the last name Seol(“薛氏女傳”) which was inserted in Samguk Sagi. According to this story, some of the residents in the capital were ordered to serve at border areas. A similar account can be found from the ‘Shilla’ entry of a Chinese historical text Suseo(隋書, History of Su) , which informs us of various types of recruitment manners other than the Bubang practice. Recruited personnel served both in the capital and at border areas. The region they were sent to serve, the unit they were set to serve in, and the manner of their services varied by cases. Local citizens were allowed to serve at their hometowns. We can see that ‘Bubang’ was the military service expected of the capital residents, which was imposed upon some of the males in the age of 18 to 60, and with the status of below the 6 Dupum grade. They would have been selected from households. Recruitment of them commenced in the mid-6th century when the function of the Ministry of Military(兵部) was officially launched and the Daejang(大幢) units were commissioned. The Military Ministry’s authority was expanded to cover wider local regions, enabling the Bubang practice as seen in the aforementioned tale of Seol the female, eventually.

養馬모티프의 變遷과 文學的 意味

김진영 한국언어문학회 2010 한국언어문학 Vol.73 No.-

This thesis is studied about breed a horse motive of korean literature. First after look out relation korean literature to horse, it is inquired into existence aspect of breed a horse motive. Finally it is studied about equivalence and difference of breed a horse motive and its literature meaning. The main contents is summarized as follows. First, some part of our literature deals with horse. it is verified with orally narrative such as agijangsu-tale, angel and woodcutter and lee seong-gye and horse legend etc. In literature narrative, there are myth, legend and novel etc. Generally horse is a aid of narrative development in korean literature. But in breed a horse motive is used of special aim, and the result is clear. so its material characteristic is outstanding. Second, it is considered existence aspect of breed a horse motive of ju-mong myth, on-dal and paksi-jeon. It is examined classify according to gaining horse and bring-up, using and result of horse each story. In ju-mong myth yu-wha saved horse with her wisdom, this is become a steppingstone of korea establish. In on-dal on-dal became a represented kogurye´s admiral to gain a sick horse. In paksi-jeon sick horse bought a high price and brought-up a excellent horse, so it sold higher price. With three works, the similar bring-up horse motive is used and changed for a good genre quality. Third, the breed a horse motive of each literature genre has a equivalence and difference. The equivalence is gaining a sick horse or appearance of woman as a aid person. This means that original myth factor has a effect of the birth myth of a nation, and this myth is intervened legend and novel writing. And the difference is a using horse method or that result. This difference is result from environment of using literature genre. Fourth, breed a horse motive is important. this motive is prepared of myth, but changed more or less as succeed to legend or novel. Just the same, the using of the breed a horse motive from the antiquity myth to modern times novel, it means that immemorial tradition of korean story literature and established usage of making method.