‘삼국지’와 제국 일본의 기획-식민지시기의 ‘삼국지’에 투사된 제국 일본의 담론들-

홍덕구 동국대학교 일본학연구소 2011 일본학 Vol.33 No.-

Romance of the Three kingdoms(三國志), written by Luo Guanzhong(羅貫中) in the 14th century, is a Chinese historical novel. In Korea, this novel is widely read as a book teaching the rules of everyday practical life. Although we usually take it for granted that Romance of the Three kingdoms shows the way of conduct of life, such recognition has been accepted since the period of general mobilization. During the period of general mobilization, Romance of the Three kingdoms was translated and published in Japan and Korea. It means that we need to deal with various versions of Romance of the Three kingdoms in the frame of its social and historical context. When Romance of the Three kingdoms was translated into Japanese in the 1920s, it was frequently used to represent premodern images of China in magazines and newspapers. Even some versions of Romance of the Three kingdoms went along with discourses of Greater East Asia Co-Prosperity Sphere(大東亞共榮圈). This suggests there was a possibility that contemporary discourses could be projected into the narration of Romance of the Three kingdoms. Thus, this study regards Romance of the Three kingdoms, especially which was translated during the period of general mobilization, as a meaningful text. Romance of the Three kingdoms could be considered the indicator of sociocultural discourses in the period of general mobilization (1937~1945).

소설(小說) 『삼국지(三國志)』의 한글 번역본에 대한 고찰 - 악선재본(樂善齋本) 『삼국지통쇽연의』를 중심으로

玉珠 ( Ock Ju ) 중국어문학회 2020 中國語文學誌 Vol.0 No.72

The edition based on the translation of the novel 『The Romance of Three Kingdoms』 can be divided into 240 Chik (則, interpretation rules) series and 120 editions (回) version series. Among the translations of the 240 Chik (則, interpretation rules) series, Naksunjae edition 『Three Kingdoms TongsuYanyi』 39 editions, which is noted in this paper, was not clearly sourced through example sentences through comparison with various versions, suggesting the possibility of translation based on another version that does not exist now. It was confirmed that Gyujanggak edition 『Three Kingdoms TongsuYanyi』 27 editions were translated based on Naksunjae edition 39 editions. Gyujanggak edition 『The Romance of Three Kingdoms』 30 editions is almost similar to Naksunjae version 39 editions, but it could not be considered completely the same as the first two chapters of book 1 outlined the history of the Han Dynasty. However, except for this part, most of them coincide with Naksunjae version 39 editions, so it is presumed to be a translation derived from Naksunjae version 39 editions. Korea University version 『The Romance of Three Kingdoms』 33 editions are partially inconsistent with the chapter titles and contents, but since it seems unlikely that they were translated based on a previously non-existent version after the 1800s, it is estimated that Korea University version 33 editions were also derived from the subclass of Naksunjae version 39 editions. As a result of comparing the contents of Korea University version 『The Romance of Three Kingdoms』 33 editions with the various versions that were assumed to have flowed into Korea, the inconsistency was confirmed, and the possibility of translation based on another version that does not currently exist was suggested. As a result of the discussions so far, the source of the Naksunjae version 『Three Kingdoms TongsuYanyi』 39 editions, Korea University version 『The Romance of Three Kingdoms』 33 editions Korea University version 『The Romance of Three Kingdoms』 38 editions belonging to 240 Chik (則, interpretation rules) series is not clear, and it is highly likely that the translation was based on another edition that does not currently exist. It is expected to require additional work, and intended to proceed in the future.

21세기 중국에서의 『삼국연의』 연구 동향과 전망

김옥란 ( Jin Yu-lan ) 인하대학교 한국학연구소 2019 한국학연구 Vol.0 No.55

중국 4대 명작의 하나인 『삼국연의』의 연구 상황은 20세기까지 주로 선보쥔(沈伯俊)이 여러 차례 수렴하여 정리하고 평가하였지만 본세기에 들어선 뒤로는 학술회의 논문들을 총괄 서술한 평론이 서너 편 나와 있을 뿐이다. 그러므로 21세기에 들어선 뒤에 이 소설의 연구 동향을 총체적으로 살펴볼 필요가 있다. 필자는 그 일환으로 최근 18여 년 동안의 중국의 박사학위논문, 주요 학술지 논문들을 대상으로 그 연구 동향을 살펴보았다. 학위논문에서 사(史)적인 연구, 전파와 영향 연구, 번역본연구 등을 살펴본 결과 이런 연구들은 단편적이고 분산되어 있는 연구 성과들을 수렴하여 체계화하고 심화시켰으며 세부적인 부분들에서 오류를 교정하고 누락된 것을 찾아내고 보충하였으며 문화현상과 관련한 상이한 연구시야를 제기하면서 논의의 폭을 문화로 확장해 나갔다는 점에서 진전이 있었고, 전파 대상 지역을 남아시아나 중국 내부의 소수민족들에게까지 넓혀서 그 전파 방식과 특징을 밝힌 점도 이전 연구보다 진일보한 점이라고 할 수 있다. 주요 학술지 논문에서는 성립연대, 작가, 판본에 대한 연구가 21세기 초에 열띤 논쟁을 벌였고 현재 각 곳에 소장한 판본에 대한 연구도 활발히 진행되고 있다. 또한 주제 사상과 창작방법 연구에서는 각자의 관점을 피력하여 논의를 더욱 활성화시킨 것은 긍정적이지만, 한편으로 해석 방법에 관해서는 일부 지양해야 할 점도 지적했다. 비교연구에서 『수호전』과의 비교연구가 비교적 활발하게 전개되어 유사점과 상이점을 찾아내었고 『손자병법』, 『노자』와 비교하여 중국 고전 군사전쟁소설로 간주하였으며 또 일본 소설 『겐지 모노가타리(源氏物語)』와 비교하여 중국소설이 일본보다 늦게 생성된 원인을 규명하였고 신작 드라마 『삼국』의 장점을 긍정하고 부족한 점을 지적했다. 현재 『삼국연의』를 연구하는 젊은 연구자들도 이 소설에 대해 왕성한 연구 열정을 보이고 있어 향후 젊은 세대들의 활약상이 기대된다. In the last century, the summary research of The Romance of The Three Kingdoms(here in after referred to as “The Three Kingdoms”), one of the four greatest classical novels of China was mainly conducted by Chinese scholar, Shen Bojun. Since the beginning of this century, the summary research has been limited to three or four conference papers, which is very insufficient. Therefore, it is necessary to take a holistic look at the research status of The Three Kingdoms since 2000. This study set out to make a statistical collation of Chinese doctoral dissertations and papers in key academic journals in the past 18 years, and investigate the over all situation and research trends of The Three Kingdoms since the new century. The dissertations mainly include the historical research, communication, influences, and translation studies, etc. These studies mainly systematized and deepened the scattered research results, found omissions and corrected errors in details. Some studies focus on the cultural phenomenon in The Three Kingdoms, extending the research scope to the cultural field, providing us with a new research perspective. In addition, the research on the dissemination scope of The Three Kingdoms has been extended to ethnic minorities in China and even South Asia, and the research on the communication mode and characteristics is further advanced than previous studies. The papers about The Three Kingdoms published in CSSCI(Chinese Social Sciences Citation Index) mainly focus on the time of completion, author and edition of the book. In addition, the research on theme and creative method is also very rich. These findings deserve recognition, but care should be taken not to overuse western methodologies. There have been many comparative studies on The Three Kingdoms and outlaws of the marsh, mainly analyzing their similarities and differences in ideological connotation and reception aesthetics. Some studies compared The Three Kingdoms with the art of war by Sun Tzu On The Art of War and TaoTeChing, and conclude that The Three Kingdoms belongs to Chinese classical military war novels. In addition, some studies compared The Three Kingdoms with Japanese classical novels The Tale of Genji to analyze the reasons why Chinese novels are later than Japanese novels. Recently, there has been a comparative study between novels and TV series, pointing out the advantages and disadvantages of the TV version of The Three Kingdoms. Currently, many young Chinese scholars are devoted to the study of The Three Kingdoms, which is expected to boost the young generation's performance in the future.

한국과 일본에서의 <삼국지연의> 전래와 수용

이은봉 동아시아고대학회 2010 동아시아고대학 Vol.0 No.23

한국에서의 <삼국지연의> 수용은 유입 초기부터 왕을 비롯한 상층 독자를 위해 중국에서 유입된 <삼국지연의> 원문을 그대로 인출 혹은 판각해 보급했던 것으로 확인된다. 이러한 사실로 보건데 우리나라에서는 <삼국지연의>가 유입 초기부터 성행했음을 알 수 있으며, 여러 문인들의 문집에 기록된 글로 볼 때 비록 허황된 소설이지만 역사 교화서로서의 역할을 했음을 알 수 있다. 물론 한글로 번역되어 출판되면서 이러한 역사 교화서로서의 역할은 축소되었지만 그렇다고 해도 <삼국지연의>의 기본 주제인 촉한을 정통으로 하는 ‘대의’는 계속 이어졌다. 이러한 인식은 중국과 잇닿은 반도국이라는 지리적 여건상 중국의 정치 문화적 영향도 무시할 수 없지만, 이보다 더 큰 이유는 성리학이라는 국가 이데올로기가 <삼국지연의>의 주제의식과 연관되어 있기 때문일 것이다. 이에 반하여 일본에서의 <삼국지연의> 수용은 중국에서 유입된 <삼국지연의>를 따로 출판하지는 않은 것으로 볼 때 유입 초기에 독자층이 매우 제한적이었다는 것을 짐작할 수 있다. 하지만 일본 최초의 자각적 주자학자인 하야시 라잔과 같은 문인들의 독서목록에 역사서류와 같이 기록되어 있는 것으로 봤을 때 일본 역시 유입초기에는 역사서의 역할을 했던 것으로 보인다. 때문에 일본도 한국과 마찬가지로 <삼국지연의>를 성리학적 맥락에서 받아들이고 있는 것처럼 보이나 한국이 중국과의 관계 속에서 촉한에 대한 정통론적 대의명분을 직접 내세우는 것과는 달리 일본은 <삼국지연의>의 정통론을 통해 자신들의 역사 정통론과 당시의 지배이념을 공고히 하는데 활용하고 있어 <삼국지연의>에 대한 인식의 차이를 보이고 있다. 게다가 일본어로 번역된 <삼국지연의>에서는 이러한 차이가 더욱 두드러져 일본만의 <삼국지연의> 문화를 형성했으며, 가부키 등과 같은 공연물로 연희되면서는 일본풍이 더욱 가미되어 그 주제의식마저 ‘충의’로 바뀌게 된다. 이러한 인식은 섬나라의 특수성 때문에 중국과의 정치 문화적 영향을 거의 받지 않은데다가 지배 이념도 달라 순수하게 문화적 측면만을 받아들였기 때문일 것이다. From the early stage of its reception to Chosun, the Romance of the Three Kingdoms was copied and printed in its original Classical Chinese form in order to be distributed to the upper class readers, including the king. It seems to have enjoyed popularity among Koreans from the early stage of its introduction, and judging from the accounts in anthologies of many literati, it provided historical lesson and guidance to the readers, although it was a book of fiction. Though its role as historical lesson reduced when the Korean translation became available, the fundamental theme that supported the cause of Shu Han remained intact. This may have been a result of political consideration that came from Chosun's geographic location as the neighboring country of China. However, a more fundamental reason would be that the theme of the Romance of the Three Kingdoms was deeply related to Chosun's state ideology, Confucianism. To the contrary, the Romance of the Three Kingdoms in its original form from China was not published in Japan. This suggests the limited readership in Japan in the early stage of its reception. As it was listed along with history books in the reading list compiled by intellectuals, such as Hayashi Razan, it seems that the Romance of the Three Kingdoms was also treated as a book of historical lesson in Japan. Hence, Japan seems to have accepted the Confucian context of the Romance of the Three Kingdoms just as Chosun did. Nonetheless, while Chosun asserted the cause of Shu Han based on its direct relation with China, Japan used the logic of historical legitimacy demonstrated in the Romance of the Three Kingdoms to support their own historical legitimacy and the ruling ideology. Japanese translation of the Romance of the Three Kingdoms enhanced the difference even more and established a culture of the Romance of the Three Kingdoms unique to Japan. When it was adopted in Kabuki, the Japanese-ness was far more strengthened and even the theme changed to the 'loyalty.' This could be a result of Japan's geographical location that allowed it to keep certain distance from China's political influence, and enabled it to accept the purely cultural side of the Romance of the Three Kingdoms.

효종(孝宗)의 <삼국지연의>(三國志演義) 독서와 번역

김수영 국문학회 2015 국문학연구 Vol.0 No.32

This paper aims to reveal for the first time how Hyojong(孝宗, 1619∼1659), 17th king of Joseon, enjoyed reading Romance of the Three Kingdoms(三國志演義), as well as the cultural meaning of the king's such enjoyment. These aspects were identified as follows through the analysis of Comment on Queen Inseon's dictation of Romance of the Three Kingdoms in Korean(仁宣王后御書諺書三國演義跋) by Sim Ik-un(沈翼雲). First, King Hyojong, during his reign(1649-1659), read Romance of the Three Kingdoms and translated it into Korean. Second, King Hyojong translated Romance of the Three Kingdoms, and dictated it to Queen Inseon(仁宣王后) and court ladies. Third, King Hyojong-translated Romance of the Three Kingdoms was handed down to his third daughter, princess Sukmyeong(淑明公主), to whose great-great child Sim Ik-un the translation was handed down. Fourth, King Hyojong-translated Romance of the Three Kingdoms existed in the title of Queen Inseon's Translation of Romance of the Three Kingdom, comprising 13 books from book 5 to 17, on June 16, 1763 when Sim Ik-un wrote Comment on Queen Inseon's Translation of Romance of the Three Kingdom. These findings of this study revealed afresh that King Hyojong royal family of Joseon had a very positive perception of novels. 이 논문은 조선의 제17대 국왕 효종(孝宗, 1619∼1659)의 <삼국지연의>(三國志演義) 향유 사실과 그 양상을 처음 밝히고, 그 문화적 의미를 고찰하는 데 목적을 두었다. 심익운(沈翼雲, 1734∼1782년 이후)이 쓴 <인선왕후어서언서삼국연의발>(仁宣王后御書諺書三國演義跋)의 분석을 통해 이 논문에서 밝힌 사실은 다음과 같다. 첫째, 효종은 국왕 재위 중(1649년∼1659년)에 궁중에서 <삼국지연의>를 읽고 그것을 국문으로 번역하였다. 둘째, 효종이 <삼국지연의>를 국문으로 번역하여 구술하면 왕비 인선왕후(仁宣王后)가 받아쓰고, 때로 궁인(宮人)이 대필(代筆)하여 책이 이루어졌다. 셋째, 효종이 국문으로 번역한 <삼국지연의>는 셋째 딸 숙명공주(淑明公主)에게 하사되었으며, 그 후 숙명공주의 고손(高孫)인 심익운의 집안에 전해졌다. 넷째, 효종이 국문으로 번역한 <삼국지연의>는 심익운이 <인선왕후어서언서삼국연의발>을 쓴 1763년 6월 16일 당시에 ‘인선왕후어서언서삼국지통속연의’(仁宣王后御書諺書三國志通俗演義)라는 제목으로 제5권부터 제17권까지 총13권으로 존재하였다. 이처럼 효종은 문예적 욕구에 따른 취미로 <삼국지연의>를 읽고 그것을 국문으로 번역하였다. 효종의 소설 향유 과정에 인선왕후와 숙명공주가 함께했다는 사실은, 효종대 왕실의 소설 인식이 상당히 긍정적이었으며, 왕실에서 퍽 유연한 태도로 소설을 향유했음을 말해 준다. 통시적으로 볼 때 효종의 <삼국지연의> 향유는 조선 전기 이래 이어져 온 ‘국왕의 소설 향유 문화’를 계승한 것으로 보인다. 다만 좀더 적극적인 향유 양상을 보여준다는 점에서 중요한 실증적 사례로 여겨진다. 효종이 <삼국지연의>를 직접 번역한 일은 그의 ‘북벌(北伐) 의지(意志)’와 일정 정도 관련이 있지 않은가 생각된다.

≪三國演義≫에 나오는 별점의 의미에 관한 고찰 -죽음에 관한 별점을 중심으로

박미자 ( Mei Zi Pu ) 중국어문연구회 2015 中國語文論叢 Vol.0 No.71

This thesis mainly investigated death of astrology about The Romance of The Three Kingdoms by astrology. The Romance of The Three Kingdoms tells regarding the death of astrology there were 16 times, mainly in general star(將星), meteor, comet and other portends a character’s death. This thesis analyzed meaning of astrology based on Book of the Official in Heaven in Shi Ji, The Astronomy Part in the Records of every generation and other astrological materials. Meanwhile, compared between The Romance of the Three Kingdoms and The Records of The Three Kingdoms, to find out how many of the astrology on death of the The Romance of The Three Kingdoms get relevant historical facts from The Records of The Three Kingdoms. This thesis from the perspective of a new understanding of The Romance of The Three Kingdoms make a try.

≪삼국연의(三國演義)≫ 진위검증론(眞僞檢證論)의 논리적(論理的) 문제점(問題點) 일고(一考) - `공성계(空城計)`를 위주로

박영녹 ( Park Young-rok ),장미경 ( Jang Mi-kyung ) 중국어문연구회 2016 中國語文論叢 Vol.0 No.78

The Romance of Three Kingdoms is a book that had been collected and assembled by Luo, Guan-zhong; he wrote this book by collecting history books and private stories since the age of the Three Kingdoms. So the genre of this book is faction, there is a mixture of fact and fiction. Since the Revolution in China, democratic governance has been established, and the evaluation of the characters in the Romance of Three Kingdoms has been different from the previous one. In the period of the dynasty, Liu, Bei was adored, but in the Democratic era, Cao, Cao has been reevaluated and his value has risen, because he showed a political superiority. At the same time, it is popular to find fiction parts in that book, let`s call it `verifying theory of the truth and fiction of the Romance of Three Kingdoms.` The Romance of Three Kingdoms is a kind of history book, at least many people think so, it is therefore meaningful to find its fiction. However, some of the claims of `verifying theory of the truth and fiction` are not valid in a methodological way; first, they blindly believe in the history recordly, second, often they rely on reasoning without a basis for accurate facts, thirdly, Follow the conclusions made by the previous two methods without criticizing them. In other words, there seems to be a tendency of confirmation bias in authenticity verification. In this paper, we have discussed the following three cases: take the pledge of brotherhood; Cao, Cao kills Lv, Bo-she`s whole family; the stratagem of the empty city.

『삼국연의』와 영역(英譯) : 브레위트-타일러를 중심으로

김소정(Kim, So-Jung) 대한중국학회 2021 중국학 Vol.76 No.-

본 연구는 『삼국연의』 영어 번역사에서 중요한 위상을 지니는 번역가 브레위트-타일러의 번역 성취에 대한 고찰이다. 영국인 브레위트-타일러는 1880년 중국으로 건너가서 40년 동안 중국의 주요 도시에 머무르며 인재 양성과 해관 및 우정 업무에 종사했다. 그는 푸저우선정학당에서 후학을 양성하면서 틈틈이 『삼국연의』를 번역하여 홍콩의 영문월간지 『차이나 리뷰』에 발표했다. 1888년부터 손책의 사망 고사, 좌자 고사, 초선 고사 등 『삼국연의』 일부를 번역했으며, 『삼국연의』에 관한 평론도 썼다. 그는 영국문화와의 유사성 속에서 『삼국연의』를 이해하고 받아들였으며, 서양인의 독서 수월성을 위해 의역과 축약의 번역방법을 동원하여 가독성 높은 완역본을 만들어내었고, 1925년 양장본 형식으로 캘리앤웰시출판사에서 출판하였다. The aim of this study is to examine the translation achievements of the translator Brewit-Tyler, who has an important status in the English translation history of The Romance of Three Kingdoms. An Englishman, C. H. Brewitt-Taylor(1857-1938), moved to China in 1880 and stayed in China s major cities for 40 years, teaching students and engaging in customs and postal service. He were invited to teach specialized knowledge in mathematics, navigation and nautical astronomy in 1880’s. During these days, he In his spare time translated The Romance of Three Kingdoms and published it in Hong Kong s English monthly magazine China Review. Since 1888, he had translated parts of The Romance of Three Kingdoms, such as Sun-Ce s death story, the story about Zuo-Ci, and Diao-Chan’s story. He also wrote a article on The Romance of Three Kingdoms. As a translator, he understood and accepted The Romance of the Three Kingdoms in the similarity to British culture. He created a highly readable complete version by mobilizing paraphrase and abbreviation translation methods for European reading convenience. The complete version was published in hardcover by Shanghai Kelly&Walsh Publishing House in 1925. With publication of the complete translation, European readers recognized The Romance of Three Kingdoms as having the value of a classic that explored the essence of human beings, and they were able to approach a true understanding of Chinese Classic Novel.

마당놀이≪삼국지≫의 중국적 변용: ≪삼국지(三國志) 오(吳)≫ ― 현대적 동양 연극을 지향하는 한중 공동 제작 사례 연구

오수경,이희진 한국중국어문학회 2007 中國文學 Vol.53 No.-

In June in 2007, there was a performance in Nanjing where the Chinese version of The Romance of Three Kingdoms- Oh, which is a remake version of the Korean Madangnori The Romance of the Three Kingdoms. I was a member who participated in the process of the production of The Romance of the Three Kingdoms- Oh. Through a self-critical perspective, I discuss the process of Chinese acculturation in The Romance of the Three Kingdoms- Oh. Early before, the Madangnori was an amusement held in the open yard to release the stress from daily life through our national heartstrings. It reduced the stress level of the citizens as well as provided vitality in life. Later, the Madangnori assimilated various traditional theatricals and inherited the dramaturge of Pansori, a kind of I person performance of folk singing. Also, it followed the aesthetics of the outdoor play of the mask dance, thus gaining a comprehensive artistry, scenery, and improvisation. The Madangnori, which possesses these features, secured a consistent number of audiences nowadays through assimilating traditional theatrical culture and establishing a unique style of theatrical genre. The traditional folk singing Pansori provided a firm basis for this success. In a similar sense, the theatrical troupe Michoo`s Madangnori The Romance of the Three Kingdomsis formed on the basis of the Pansori script of The Song of the Jeokbyuk Battle in an aspect of traditional artistry inheritance with its` expressions in humor and satire. The Madangnori contributed to the change of image of the Pansori which was transfigured as a recreational culture of the privileged ones around the 19th century. As a result, the folk spirit of the Pansori revived and the scope of audience expanded. This provides an implication of overcoming the simplicity of the traditional inheritance, as well as regaining and extending the traditional essence. Luckily, the Michoo`s Madangnori The Romance of the Three Kingdoms was invited by the Group of Jiangsu Performing Art and co-produced it`s Chinese version with the help of the Korean Cultural boom. The Madangnori The Romance of the Three Kingdoms changed its title to The Romance of the Three Kingdoms- Oh in order to develop the story putting an emphasis on the country `Oh` of `Jiangsu province`. It also reproduced the performance suitable for the public by using active and exciting dance composition and music. At the same time, it had succeeded in localization by filling exciting Chinese sightseeing in the stage. However, participation of the audience was limited due to the structural design of the stage where people had to look up actors. Also, the socialism of China prevented the use of strong sarcasm and criticism toward the society which is one of the essencial feature of the Madangnori.

『三國志演義』와 關索故事의 영향 관계 고찰

옥주(Ock, Ju)(玉珠) 대한중국학회 2021 중국학 Vol.75 No.-

『三國志演義』는 元代 建安 虞氏의 『三國志平話』를 시작으로 현전하는 통행본인 毛宗崗本에 이르기까지 약 350여 년의 발전 과정을 거쳤다. 이러한 발전 과정 안에서 상업성을 목적으로 한 福建地方과 江南地方의 출판 경쟁이 시작됐고, 江南地方에서 刊行된 演義系列 版本과 福建 建陽地方에서 刊行된 志傳系列 版本이 생겨났다. 그리고 이 두 系列의 版本은 回目과 內容 등에서 독자적인 특색을 갖고자 여러 가지 변화를 시도하였다. 두 系列의 版本들을 살펴보던 중 필자가 주목한 것은 『花關索傳』과 『三國志演義』에 대한 영향 관계였다. 본 연구는 『三國志演義』에 『花關索傳』이 揷入되면서 系列 분류 및 관련 版本에 어떠한 영향을 주었는지에 대하여 살펴보고, 시간이 지남에 따라 『三國志演義』』내에서 『花關索傳』점차 사라지게 된 근본적 이유가 무엇인지에 대하여 毛宗崗을 비롯한 몇 가지 이유를 들어 살펴보고자 한다. 그리고 그럼에도 불구하고 현대까지도 잘 보존되어 이어지는 關索과 관련된 전설과 민간고사 등을 통해 『花關索傳』이 갖는 의미와 가치에 대하여 살펴보고자 한다. The novel, 『The Romance of the Three Kingdoms』, which appeared initially with the title, 『Pinghwa version of the Romance of the Three Kingdoms』 authored by an author of his surname Yu of the area of Jianan in the era under the reign of Emperor Yingzong of Yuan Dynasty(1321-1323), has been transferred so far through different versions of the 『Translation of the Romance of the Three Kingdoms』 of 240 Chik authored by Luo Guanzhong in 1522 of the era of Myng Dynasty, and 『The Romance of the Three Kingdoms compiled and criticized by Li Zhouwu』 of 120 editions authored by Li Zhouwu, under the reign of Emperor Wanli of Ming Dynasty. Thereafter, the versions passed through the process of continuous transformation in terms of its contents and subtitles until the emergence of currently available popular version of Mao Zonggang of 『Four Great Novels』. Author of the present paper intended to analyze the relationship of mutual influence between 『Hua Guan-suo‘s zhuan』 and 『The Romance of the Three Kingdoms』 to each other, for which the versions were analyzed through divided approaches to Yanyi series, another name Jiangnan series published in the region of Jiangnan, and Zhizhuan series, another name Fusian series published in the region of Jianyang in Fujian Province, upon initial analysis of the 『Pinghwa version of The Romance of the Three Kingdoms』. Results of the analysis revealed the relationship of mutual influence of Zhizhuan series appeared higher than that of Yanyi series, wherein the indications of old stories of Guan-suo inserted into Zhizhuan series, owing to commercial competitions for publication of different versions of Zhizhuan series, were found. Thereafter, it was identified that the influential relationship of the versions with 『Hua Guan-suo‘s zhuan』 appeared diminishing as it went toward the version of Mao Zonggang, the currently available popular version.