과 중국 원잡극의 비교 연구

Abstract

The story of the two characters, Chunhyang and Lee Mongryong, was presented in the form of Seolhwa at the very beginning, developed in the form of Pansori by Gwangda, and further spread in the form of novel. During its progressive development, Chunhyangga was the source of the novel of Chunhyangjeon. Chunhyangga took a unique and traditional form of integrated arts which was initiated in Korean. Due to its progressive phase of Pansori, Chunhyangjeon carried the characteristics of oral literature shared by Pansori novels and at the same time, it is also a satire to the society and an exposure of people’s life during the process of its development. The Romance of West Chamber is one of the best works in Chinese ancient literature. Moreover, it is often to be taken as the arguing and researching target by the scholars due to its far-reaching effect on Korean ancient literature. The story of the heroine, Yingying, originated from a legend of A Biography of Yingying in Tang dynasty and was demonstrated in various artificial formsin Song and Jin dynasty and finally got its form of poetic drama set to music in Yuan dynasty. During the process of its development, the Romance of West Chamber not only adopted the most popular folk artistic forms in different times but also changes its contents and characteristics accordingly. Like the Romance of West Chamber, A Tumbledown Cave produced by Wang Shifu was based on the story of a real person in Song Dynasty who was called Lv Mengzheng. Although its literary achievement couldn’t exceed that of the Romance of West Chamber, it holds a unique literary value and status in the history of Chinese ancient Drama Literature for its beautiful melody and sharp personality. Furthermore, On the Wall and Horseback by Bai Pu, and the Romance of West Chamber were both regarded as one of the Four Big Love Dramas in the Yuan Dynasty. It originated from a very popular poem of Silver Bottle in the Well Bottom by Bai Juyi of Tang Dynasty. Like Chunhyangjeon, at different phases of its development, the production of the above three poetic dramas set to music of Yuan Dynasty was well affected by the people’s likes and dislikes at that time. Therefore, all the works included people’s consciousness of the two countries of different times. Comparative study between Chunhyangjeon and Chinese classic literature has started long time before in the Sino-Korean literary circles and already gained a lot of achievements. But unfortunately, the targets of the comparative study on Chunhyangjeon mainly focused on the Romance of West Chamber, the Peony Pavilion, as well as the Injustice suffered by Douer and other very few works, which has some limitations. Thus, the dissertation expands the comparative targets of Chunhyangjeon. These targets not only include the Romance of West Chamber which is well known to Korean literary circles but also cover A Tumbledown Cave and On the Wall and Horseback which are not so well known to Korean literary circles. The dissertation aims at fully presenting specific politics, economy, culture and people’s consciousness embodied in the works of post-Korean period and Yuan Dynasty in China through comparative study on the contents, structure, conflicts, characters as well as themes of the Pansori novel and masterpieces of the poetic drama set to music in Yuan Dynasty. A certain role is expected to play in help people have a better and more comprehensive understanding of the characteristics of Chunhyangjeon as an ethnic literature through the literary comparison of different ethnic groups.

Key Words: Chunhyangjeon, the Romance of West Chamber, A Tumbledown Cave, On the Wall and Horseback, Comparison, Pansori, Pansori novel, poetic drama set to music of the Yuan Dynasty, the feature of populace, structure, character, theme.|春香和李梦龙的故事从说话开始，经广大用Pansori演唱后，又以小说的形式得以流传与发展。这之中Pansori≪春香歌≫借用了韩国独创的、民族性的综合艺术形式Pansori，是Pansori小说≪春香传≫的源流。≪春香传≫由于经历了Pansori这一演绎阶段，因此具有口碑文学特点的同时，在作品不断演变、进化的过程中，还体现了民众的现实生活和百姓对社会的讽刺。 ≪西厢记≫是中国古代文学史上最为优秀的戏剧作品之一。不仅如此，由于其对韩国古典文学作品的影响，因此常成为学者们举论和研究的对象。女主人公莺莺的故事，从唐代的传奇小说≪莺莺传≫开始，宋、金时期借用了当时流行的多种讲唱艺术形式之后，到了元代，才有了著名的杂剧≪西厢记≫的出现。≪西厢记≫作品群的发展过程中，故事的内容和性格也由于社会背景的不同而不断发生着变化。 和≪西厢记≫一样由王实甫所创作的杂剧≪破窑记≫，改编于宋代真实人物吕蒙正的故事。该作品尽管未能在文学水准上超越≪西厢记≫，但仍由于其优美的曲文和个性鲜明的剧中人物，在中国古代的戏曲文学史上，拥有独特的文学价值和地位。此外，白朴的≪墙头马上≫和≪西厢记≫一起，被称作是中国元代杂剧中的“四大爱情剧”之一。故事起源于广受百姓喜爱的唐代白居易的≪井底引银瓶≫一诗。 以上这三部元杂剧作品同≪春香传≫一样，在源泉故事的不同发展阶段，作者的创作均受到了民众喜好和时代背景的影响。因此，这些作品中均包含着两国不同时期浓厚的民众意识和时代精神。 ≪春香传≫和中国古典作品间的比较研究，韩中两国学界很久之前便已展开，并取得了不少的成果。但可惜的是，这期间≪春香传≫的比较研究对象，主要都集中在≪西厢记≫，≪牡丹亭≫，≪窦娥冤≫等个别作品上，具有一定的局限性。本论文对≪春香传≫的比较研究对象进行了扩充，除了韩国学界较为熟知的≪西厢记≫，又增加了对于韩国国文学界来说，仍较为陌生的≪破窑记≫和≪墙头马上≫两部作品。主要原因有二：一是pansori小说和元杂剧体裁的相似性；二是≪春香传≫和≪西厢记≫、≪破窑记≫、≪墙头马上≫三部作品内容等诸方面的可比性。 本文的研究目的，旨在通过对Pansori小说和元杂剧代表作品的内容结构、矛盾冲突、人物设置、主题等方面的比较研究，更好地体会蕴含在作品中的韩国朝鲜时代后期和中国元代所特有的政治、经济、文化和民众意识。并希望这样异民族间的文学比较，对更深入、更全面地体会≪春香传≫作为民族文学的特性起到一定的帮助。

关键词：≪春香传≫、≪西厢记≫、≪破窑记≫、≪墙头马上≫、比较、 Pansori、Pansori小说、元杂剧、民众性、结构、人物、主题