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<원가(怨歌)>의 재구성 - 트랜스미디어 스토리텔링에 따른 문학적 해석 -
고운기 ( Ko Woon-kee ) 한국시가학회 2021 韓國 詩歌硏究 Vol.53 No.-
Sin-chung(信忠)’s story was over 600 years ago from Il-yon(一然). It is very difficult to measure what variation has occurred between poor records and long-standing transmission. Il-yeon would have wanted to continue Sin-chung and Dansoksa(斷俗寺) with certain intentions. The intention was to find the beautiful protagonist of life on the side of Piun(避隱), so the story multiplied under the operations of the narrative principle. Two points were interpreted anew. First, it is the ‘Lost the back phrase(後句亡)’ attached to the end of ‘The song of resentment(怨歌)’. What were the two lines of the missing epigram? The song cannot have expressed the only resentment. Il-yeon read an article that Shin-chung entered the beautiful hidden path later in life. Even if it misread The History of the Three Kingdoms(三國遺事). Misreading is flawed, but the story wouldn’t have been made without it. Second, in Chan(贊), it is the ‘Our Emperor(吾皇)’. Translated into ‘Our Lover’, meaning ‘Budda’. Shinchung, who entered the temple after leaving his government post, said he would bless the king. Then it is natural to pray to Buddha. Here’s what Il-yeon thought of Shin-chung’s right secret. Perhaps he replaced the two lost verses of ‘The song of resentment’.
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박재민(Park, Jae-Min) 한국고전번역원 2010 民族文化 Vol.- No.34
本考는 『三國遺事』에 수록된 10句體 향가 <원가>를 文證을 통해 해독하고 문학적 의미를 덧붙인 결과물이다. 어학적 해독 결과 중, 주요한 것을 각 句별로 추리면 다음과 같다. 1句. ‘物叱好支’는 ‘갓 됴?으로 읽힌다. 의미는 ‘物 중에서 가장 좋은’. 2句. ‘爾屋?’에 대한 새로운 제안들이 나온 바 있으나, 이는 양주동의 ‘이우러(시들어)’에서 이미 올바로 해독된 곳임을 확인하였다. 3句. 이곳은 “汝於 / 多齊 / 敎因隱”로 분절된다. ‘多支’은 다히’를 표기한 것으로 현대어로는 ‘함께’로 풀이된다. 4句. ‘仰頓隱’의 ‘頓(돈)’은 차자 ‘던’이 아닌, 漢字 본연의 쓰임새로서의 ‘頓’이다. ‘조아린’ 즉, ‘절한’의 뜻이다. 말미의 ‘冬’ 또한 借字로 본 견해도 많으나, 문맥상 한자 그대로의 의미 ‘겨울’로 판단된다. 5句. ‘影支’는 명사가 아닌 용언으로 ‘말갛게 비치-’의 의미. ‘古理因’는 명사 ‘옛날’이 아닌 용언 ‘오래되다’의 의미. ‘之叱’은 해독의 일각에서 보고 있는 ‘가(邊)’의 의미가 아니라 단순히 처격의 ‘잇’이다. 6句. ‘行尸浪’은 통설 ‘흘러가는 물결’이 아니라, ‘일렁이는 물결’이다. ‘沙矣’는 借字가 아닌 한자 본연의 쓰임새로 쓰인 字로 ‘모래’로 풀이된다. ‘以?如?’는 서술격 조사 ‘-이다’의 차자표기이다. 7句. 양주동에서 이미 해독이 완료된 곳이다. 8句. ‘都之叱’는 ‘모두옛’, ‘逸烏隱’은 ‘잊혀진’, ‘第’는 ‘等第(功에 대한 報償)’의 의미이다. 이상 1-4句의 해독을 통하여 ?落의 계절을 견디는 常綠의 잣나무, 표정이 변해버린 겨울날의 님(王)의 모습을 뚜렷이 파악해 낼 여지가 생겼으며, 특히 3句의 해독으로 그간 제기되어 왔던 <원가>와 <정과정>의 문학사적 공통 脈絡 一忠臣戀主之詞一을 보다 구체적으로 확인할 수 있었다. 5-8句의 해독을 통하여 그간 異見이 심했던 ‘月?淵?浪?沙’에 대한 문학적 풀이를 반성해 보았다. 전체적으로 ‘달빛이 말갛게 비치는 오래된 연못, (나는) 그 아래의 모래로다. 달의 모습이야 바라보나 세상 모두에게 잊혀진 等第여!’로 해독되는데, 이를 바탕으로 ‘月 = 王’, ‘淵 = 政治의 場’, ‘浪 = 政爭(或은 王의 萬機)’, ‘沙 = 信忠’임을 제기할 수 있게 되었다. This paper interpreted <Wonga(怨歌)>, one of the hyanggas(鄕歌) in 《Samgukyusa(三國遺事)》,and considered of its literary meaning. Through the interpretation of the first half, I could envisage clearly the poetic images such as the big cone pine that overcame the season of withering and the king that changed his mind in that season. Especially, through the interpretation of the third line, I could find a concrete relation between the two poems of loyalty, <Wonga(怨歌)> and <Jonggwajong (鄭瓜亭)>, which many scholars have considered of. In the mean time, through the interpretation of the latter half, I reconsidered of the literary interpretation of ‘wol(月)?yon(淵)?lang(浪)?sa(沙)’, which has provoked many arguments so far. I interpreted this part as follows: 'A pond reflecting the moonlight clearly, the sand under the pond. The sand is staring the moon, but the compensation has been forgotten by everyone in the world!'. Based on this translation, I argued what the poetic terms imply. The moon implies the king, and the sand means the writer, Sin Chung(信忠). The pond implies the political situation, and the waves mean the political conflict. The following is the list of the newly interpreted phrases in this paper:<br/> Line 1: ‘muljilhoji (物叱好支)’ in this line should be interpreted as got dyoh?n(갓 됴흔);, which means the best of a species.<br/> Line 2: ‘yiokbok(爾屋?)’ in this line has been interpreted in various ways by many scholars. However, I verified that the early interpretation by Yang Judong was correct. According to him, this part is interpreted as ;yiul?(이우러);, which means to be withered.<br/> Line 3: This line should be divided into four segments: “y??(汝於) / tabok(多支)/ haengje(行齊) / kyoineun(敎因隱)”. Especially ‘tabok(多支)’,the second part of them can be decoded as ‘tahi(다히),, which means together.<br/> Line 4: ‘Ton(頓)’ in ‘angdoneun(仰頓隱)’ was not used as a chaja(借字),a sign that indicates the Korean vernacular by borrowing the sound of Chinese characters. On the contrary, it functioned as a Chinese character itself in this part. ‘Tong(冬), at the end of the line also has been often considered as a chaja (借字). However, this word should be interpreted as a Chinese character too.<br/> Line 5: ‘Yongbok(影支)’ is not a noun but a verb, which means to reflect clearly. ‘Koliin(古理因), is not a noun either but a verb, which means to get old ‘Jijil(之叱), has been translated as a border by some scholars. However, I argued that it has only a grammatical function and can be translated as ;at (잇);.<br/> Line 6: ‘Haengsirang(行尸浪)’ has been generally translated as flowing water, but in fact it means waving water. ‘Saui(沙矣)’ is not a chajai借字) but functions as a Chinese character, and it means sand On the contrary, ‘Yibokyobok(以?如?)’ is a c/각/a(借字) that indicates ‘yida(-이다)’.<br/> Line 7: Yang Judong already interpreted this line perfectly.<br/> Line 8: I interpreted ‘Tojijil(都之叱)’ in this line as ‘moduyet(모두옛)’. I also argued that ;yilloeun(逸烏隱)’ means to be forgotten, and that ‘je(第)’ has the same connotation as ‘Teungje(等第), that means compensation for efforts.
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