《삼보태감서양기통속연의(三寶太監西洋記通俗演義)》의 시문(詩文) 인용(引用) 및 변용(變容) 양상(樣相)

홍상훈 ( Hong Sanghoon ) 한국중국어문학회 2014 중국문학 Vol.79 No.-

It is clear that the experience of Zheng He[鄭和] who made seven times voyage to the Western World exerted some far-reaching influences on the literature of late Ming [明] Dynasty. The various informations of the new world broadened writer`s mental horizon and thinking space in most all of the literature genres. The 100 chapter [回]`s Sanbao-taijian Xiyangji Tongsuyanyi [三寶太監西洋記通俗演義] by Luo Maodeng [羅懋 登](or represented by him) is a typical instance of that experiences. Although this first story of the sea adventure in Chinese Literature is not a realistic novel──almost can be a fantasy, it contains substantial meanings in the society and history of late Ming Dynasty. The rich imaginations about overseas countries in this novel, for instance, gave an impetus to the Chinese of late Ming Dynasty who were still not prepared to accept the objective knowledge of the whole world and were self-sufficient for the idealism of the suzerain vassal. In addition, the writer(s) of this novel would like to represent his (or their) displeasure and indignation about the present state of late Ming Dynasty by satire and deriding style. Nevertheless, the sentence quality and story structure of this novel could not fulfill most of high-class leaders` aesthetic requirements at that time, so much as Lu xun [魯迅] in modern China. In point of fact, Xiyangji can be placed a transitional stage in writing style from generational episodes cumulation to individual story writing. So, it was natural that the writer(s) of this novel betray many clumsy workmanships when he (they) tried to make use of some old episodes and other short stories, or when he (they) tried to imitate some sentences of history books and prose texts, or when he (they) tried to joke, even when he (they) tried to show his (their) talent of story writing. As things turned out, Xiyangji has many distinguished marks of experimental writing. In this paper, I studied some types of quoting poetry and prose from outside of this novel. And I found some notable features. Only 86 pieces of poems and phrases are directly quoted without any modification in total 178 cases. With a few exceptions that resulted from the mistakes in copy, most of all the quoted poetry and prose are intentionally modified by writer(s) of Xiyangji, for the purpose of application to his (their) novel`s context. But it is true that not a few confusions induced by these modifications. Without a few very high-class readers, almost all popular readers could not distinguish the modified poem from its original one, especially in the case that the extent of modification is rather high. The prose sentences quoted in this novel were usually from the prose collections by the fairly famous literary men before the writer(s) or contemporary with him (them), history books, and the Confucian scriptures. But almost of all sentences were diversely modified also. In this case, the purpose of modification is far from the case of poetry. Apart from a few modification in consideration of the context, many modifications seems to cross the line. Intentionally or unconsciously the writer(s) reversed the arrangement of words or omitted some words. It make readers cannot grasp the meaning of the whole sentence. In conclusion, the modification in quoting poetry and proses is a very remarkable feature in the Xiyangji text. But we cannot regard the poor workmanship of modification as an immature defect. Because not a few cases suggest that the poorness is made on purpose. In other words, we can think that the writer(s) of this novel intended to hold the so-called `high-class readers` up to ridicule or to satirize them by presenting sets of absurd prose sentences. And in any sense, we can regard this kind of writing as somewhat similar to the `pastiche` of the post-Modernism.

《삼보태감서양기통속연의(三寶太監西洋記通俗演義)》에 투영된 역사와 시대 의식

윤정화(尹正華),김태만(金泰萬) 동북아시아문화학회 2016 동북아 문화연구 Vol.1 No.47

China has a long history of maritime affairs and never stopped researching the oceans. After reforming and opening up, China has witnessed a great change in economy, science, medicine, military etc. The commencement of “the 600 anniversary of Zheng He"s voyages” in 2005 and the release of “The Rise of the Great Powers” in 2006 had aroused a widespread concern in the country, which has shown the review of history is extremely popular and beneficial. This paper aims to discover the secrets from the process of the Zheng He"s voyages described in a book named “SanBao’s Expedition to the Western Ocean”, and explain its significance for the present economy, sea power, and marine consciousness development, meanwhile, to comprehensively show the remolding image of Zheng He and other characters in the historical background. “SanBao’s Expedition to the Western Ocean”, one hundred chapters to a total of two volumes, was published in the Ming Dynasty (1598). After many years’ compiling, the book described a story about Zheng He, who did not fear the danger to go to the Western. With the help of the Jinbi peak Zen master and Zhang Taoist master, Zheng He slayed demons, offered amnesty to minorities and hunted treasures. In the real history, the expedition to the western ocean was completed by Zheng He and Wang Jinghong. Novels are different from the history, the main reason is problem in the era of the author. It is the late Ming Dynasty, when everything was declining, foreign aggression was increasing and who wanted to complete a similar voyage alone is impossible. The author edited this novel to recall the prosperous period of the Ming Dynasty and criticize that present time. The book embodied the author"s ideas about loyalty, Taoism and marine consciousness etc. This paper first explained the author, the book, and the historical period to analyze the reason of establishing the image of Zheng He. Through describing Zheng He"s image, this paper reflected the China"s political, cultural and people"s thoughts in that era.

바다 너머 세계의 끝에 대한 한 ‧중의 상상력 –『태원지』, 『삼보태감서양기통속연의』, 『경화연』을 중심으로

강혜진 한국어문교육연구회 2025 어문연구 Vol.53 No.1

『태원지』, 『서양기』, 『경화연』에서는 중세 동아시아인들이 상상한 바다 너머의 세계상이 비슷하면서도 다르게 형상화되고 있다. 본 논문은 그 같고 다름의 요인을 규명하는 데 목표를 둔다. 이에 작중 세계관의 차이, 독자 ‧작자의 차이, 국가 간 차이로 층위를 나누어 분석했다. 『서양기』에서는 중원을 지리적 중심이자 문화적 중심으로 형상화하려 했다. 중원을 안‧ 중심‧ 문명으로, 서양을 밖‧ 주변‧야만으로 상정하는 관념적인 이항의 세계상을 반복적으로 구현하고자 했다. 그 이후에 등장한 『태원지』와 『경화연』은 중세적 세계관이 흔들리는 양상을 보여준다. 『태원지』에서는 중원이 지리적 중심이 아닌 것으로 그려진다. 그 대신 중원의 문화는 여전히 유효한 것으로, 심지어 낯선 세계에서조차도 나타나는 것으로서 고수된다. 반대로 『경화연』에서는 중원이 여전히 지리적 중심으로 상정되며, 그대신에 중원의 문화나 질서에 대한 비판 의식이 나타난다. 천하의 중심을 자처했던 중원의 왕조와 그렇지 않았던 조선의 차이, 그리고 탈주자학적 흐름을 보였던청(淸)과 여전히 주자학적 이념과 질서를 고수했던 조선의 차이가 『경화연』과 『태원지』의 차이를 만들어 냈던 것으로 보인다. In Taeweonji, Sanbao-taijian Xiyangji Tongsuyanyi(Xiyangji), and Kyeonghwayeon, the imagined world beyond the sea as conceived by medieval East Asians is represented in both similar and distinct ways. This study aims to elucidate the factors contributing to these similarities and differences. Therefore it is structured across three dimensions: differences in the worldview depicted in the texts, distinctions between readers and authors, and interregional variations among nations. Xiyangji attempts to portray China as both a geographical and cultural center. It repeatedly constructs an ideological binary in which China is conceptualized as the “inside,” the “center,” and “civilization,” while the Western regions are framed as the “outside,” the “periphery,” and “barbarism.” However, Taeweonji and Kyeonghwayeon, which emerged later, reflect a shift in the medieval worldview. In Taeweonji, China is no longer depicted as the geographical center. Nevertheless, its cultural significance remains intact, persisting even within unfamiliar realms. Conversely, in Kyeonghwayeon, China continues to be positioned as the geographical center, but a critical awareness of its culture and sociopolitical order emerges. These differences appear to stem from the contrast between the Chinese dynasties, which traditionally claimed centrality within the world, and Joseon, which did not. Furthermore, the ideological divergence between the Qing (清), which exhibited a departure from orthodox Neo-Confucianism, and Joseon, which steadfastly adhered to Neo-Confucian principles and hierarchical order, seems to have influenced the distinctions between Kyeonghwayeon and Taeweonji.

중국소설 『三寶太監西洋記通俗演義』의 한글 번역본 『西洋記』

유춘동 동양고전학회 2024 東洋古典硏究 Vol.- No.94

The purpose of this article is to look at "Seianggi," a translation of the Chinese novel "Sanbao-taijian Xiyangji Tongsu-yanyi" into Korean, featuring Jeong Hwa, who pioneered the maritime silk road during the Chinese Ming Dynasty. It has already been confirmed that this novel was introduced to Joseon before the 18th century and read by the upper noble class through various lists during the Joseon Dynasty. However, it has not been confirmed that the novel has been translated into Korean. In this article, we looked at the traditional records and characteristics of the Chinese novel "Seianggi", as well as the newly confirmed Korean version of "Seianggi". The Korean version originally existed in the form of 20 volumes and 20 books, and only five books remain. The translated version omitted poems that appear at the beginning and end of each episode, and most of the items that were not important for content development were excluded from the translation process. The Korean version of "Seianggi" is an abbreviated-translated version, but it can be said to be an exquisite translation considering the nature of the original.

문명과 야만──3대 신마소설(神魔小說) 주제 비교

홍상훈 ( Hong Sang-hoon ) 한국중국어문학회 2017 중국문학 Vol.91 No.-

본고는 문명과 야만이라는 주제를 중심으로 `3대 신마소설`에 나타난 차이와 그로 인한 서사 구조의 차이를 비교한 것이다. ≪봉신연의≫에서는 `武王伐紂`와 `封神`의 과정에서 야만적 `獸性`에 바탕을 둔 무력을 동원할 수밖에 없었던 부조리에 주목했다. ≪서유기≫는 손오공의 성장 과정에 나타난 獸性-人性-神性의 단계적 변화를 제시하면서도 역시 문명적 질서를 건립하는 데에 무력이 필요했다는 모순적인 현상을 보여준다. ≪서양기≫는 독선적인 기준에 의해 中華-海外를 문명-야만으로 규정하고, 敎化를 내세우면서 오히려 폭력과 살생을 앞세움으로써 명분과 현실 사이의 논리적 파탄을 드러냈다. 그리고 이와 같은 주제 설정의 차이는 세 작품의 서사 구조에도 각기 다른 영향을 주었다.