《삼국연의》 주요 인물의 정형성 연구 = A Study on the Formality of the Major Character in 'Romance of the Three Kingdoms'

국문 초록 (Abstract)

본 논문은 正史 《三國志》에서 소설 《三國演義》에 이르기까지 긴 시간 속에서 등장인물들의 정형성이 어떤 과정을 통해 이루어졌는가를 주로 고대의 문헌을 통해 살펴보고 분석 및 정리를 한 것으로 핵심 내용은 두 가지로 요약할 수 있다. 첫째, 《三國演義》의 주인공이자 긍정적 인물이라고 할 수 있는 劉備, 關羽, 張飛의 외적 이미지의 정형성과 관련하여 劉備는 이미 正史 《三國志》에서 기본적인 요소가 갖추어졌고, 關羽는 ‘멋진 수염’이라는 핵심적인 요소가 존재하지만 張飛에 대한 묘사는 찾을 수가 없다. 張飛는 唐代부터 언급되기 시작하면서 元代에 가장 개성이 강한 인물로 정형성이 확립되었다. 둘째, 曹操와 鄧艾는 실재했던 역사적 인물로 역사서나 문학사에서는 긍정적인 이미지로 서술됨에도 불구하고 민간 예술이나 소설에서는 악의 이미지로 정형성이 고착될 수밖에 없는 이유를 살펴보았다. 특히 鄧艾는 역사에서 마지막으로 蜀나라를 무너뜨리고 張飛 집안의 대를 끊은 장본인이었기 때문에 《三國演義》에 드러난 그의 이미지도 부정적인 정형성을 지닐 수밖에 없다는 점을 강조했다.

다국어 초록 (Multilingual Abstract)

This paper mainly examines, analyzes, and organizes through ancient literature the formalities of characters in a long period of time, from the official history 《三國志》 to the novel 《三國演義》. In this paper, the formalities of two types of characters were intensively analyzed in relation to major characters.
The first was to examine the formalities of the three characters, 劉備, 關羽, and 張飛, who can be said to be the main characters of 《三國演義》.
As a result, the formality of 劉備 has already been established in the 《三國志》 stage, and 關羽 has also been confirmed to have the greatest external formality of ‘beautiful beard’. However, there is little description of 張飛’s image, and he confirmed that the image appeared in the private sector from the 唐 Dynasty and established the formality at the stage of the 《三國志平話》 published in the 元 Dynasty. In addition, it can be seen that 《三國演義》 inherits most of the characters of the characters stereotyped in 《三國志平話》.
Second, using 曹操 and 鄧艾 as examples, we looked at the problem of how the formality of negative characters is embodied in the novel. 曹操 is regarded as a positive person in Chinese literature history as well as in its official history, but in the novel, as a person who stands in opposition to 劉備, it has been stereotyped as an embodiment of evil such as “漢賊” and “奸雄.” In addition, the character “鄧艾,” a general in the 魏 Dynasty, had a very weak presence in the 《三國志平話》 stage, but in the 《三國演義》 stage, he was depicted as a very important person as the one who broke down the 蜀. Despite his great achievements, I noted that basic images have always been caricatured, and a preliminary analysis has led to the conclusion that he has no choice but to be structurally stereotyped as a negative person at the opposite point of the 張飛.
Finally, the 《三國志平話》 stage of the original period can be of great significance to the emergence of text with a complete narrative structure hundreds of years after the history 《三國志》. In the meantime, it can be seen that it has evolved mainly into the art of ‘說話’ during the 唐宋 Dynasty and the art of performing in the form of a theater during the 金元 Dynasty. In particular, actors who mainly acted in costumes and costumes on stage in the 元 Dynasty secured one fixed image, that is, one fixed formality for each character, and this was inherited as the formality of the characters in the novel 《三國演義》.