연구

Abstract

This paper revealed its meaning by noting that during the transition of the GangneungMaehwaTaryeong from source theory to pansori, the person who is deceived is finally portrayed as the originator of a chaekbang. Those who are deceived in the process of transitioning from source theory to pansori are portrayed as negative and critical figures. Finally, it is portrayed as a “cultivation of a chaekbang.” History records showed why the person who was deceived was depicted as a chaekbang and what a chaekbang was like. As a result, bookshops are those who take the leader when he leaves the foreign office and are not part of the bureaucracy. However, he took charge of the document and accounting affairs by helping the recipient receive it from his close aides. When it was in charge of accounting, the bookstore had frequent exchanges with Ah-Jon and officials. At this time, he caused a number of problems, including embezzling the country's public funds with them. Also, thanks to the power of the leader, he did not hesitate to torment the people in order to benefit himself. These historical records are written by the aristocrats, who can be said to contain the concerns that chaekbang confuse society and destabilize the system. As the aristocrats feared, the tyranny of the chaekbang made life difficult and impoverished, and the people's anger and resentment toward the chaekbang grew. In reality, however, there was nothing the people could do about a chaekbang under the power of the leader. Instead, the people tried to solve the anger and discontent of reality by appearing in their literary pansori, making them negative and critical figures and satirizing and comicizing them. The existence of a chaekbang in the late Joseon Dynasty was viewed negatively not only by aristocrats but also by the people. After focusing on the character Golsaengwon, I realized that GangneungMaehwaTaryeong is a story that reflects the reality of the times and shows conflicts and conflicts in society. Furthermore, this new interpretation presents a new interpretation of other real-life pansori works. If you look at GangneungMaehwaTaryeong, BaebijangTaryeong, and MukuniTaryeong, all three works have something in common: middle-class people are the ones who want to criticize. This can be understood as a reflection of society's negative and critical views of the middle class of the day.