용비어천가 연구 : 서사시적 구조분석과 신화적 성격

국문 초록 (Abstract)

龍飛御天歌는 樂章으서의 목적과 효용을 지니고 제작되었으며, 그것도 또한 敍事詩的으로 形象化되었다는 이왕의 주장을 동시에 受容할 때, 龍飛御天歌의 文學的 硏究는 새로운 地平이 열리게 된다. 즉 그것은 奏樂에 합당한 구조와 설화적 성격을 동시에 지녀야 한다는 것이다. 그리하여 龍飛御天歌는 다음과 같은 구조적, 내용적 특성을 지니고 있음을 알 수 있다.
1. 전체 용비어천가는 제 1, 2장의 序詞와 제 3∼124장의 本詞―敍事部, 그리고 제 125장의 結詞로 구성되어 있는데 이들 각 부분은 강한 독자적 성격을 지니고 있어, 특히 序詞와 結詞는 敍事部의 어느 일부에 있어서도 항상 독자적으로 그 역할을 수행하고 있다.
2. 敍事部는 다시 제 3∼16장의 上部―開王業部와 제 17∼109장의 中部―聖人神力部, 제 110∼124장의 下部―願母忘部로 나뉘어, 前者는 건국의 서사시, 다음은 영웅서사시, 그리 맨 끝의 것은 서사시적 교훈시로서의 독자적 특성을 지닌다.
3. 上部―開王業部는 건국의 天命性에 중점을 두어 易姓革命의 당위성을 강조하였다. 여기에 原型으로 채택된 것이 周나라의 創業과정이었다.
4. 中部―聖人神力部는 주인공 李太祖의 英雄性 내지 神聖性 발현에 중점을 두어 대부분 전승설화와 民俗信仰이 素材로 채택되고 있다.
5. 六祖宗은‘絶離―試鍊 및 入社式―歸還’ 이라는 이른바 통과제의적 單一神話 (monomyth) 구조를 취하여 聖化되며, 특히 穆祖를 비롯한 翼祖, 度祖, 桓祖 등 四祖는 주인공 李太祖의‘고귀한 혈통’으로 역할하고 있다
6. 下部―願母忘部는 앞의 두 부분과는 달리 六祖宗에 대한 서술의 관점이 아주 ‘人間間 的’ 이다.
그리고 끝으로, 이상의 고찰결과에 의하여, 용비어천가는 事大的인 것이라기보다는 ‘不可抗力的인 事大’ 의 이면에 의도적으로 강한 주체성을 드러낸 作品임을 알 수 있었다.
결국 용비어천가는 樂章으로서, 서사시로서의 독자적인 구조와 형태를 지니고 제작목적에 합당하게 형상화되었으며, 나아가 내용적으로는 풍부한 구비전승적 요소들을 수용하고 있어 조선왕조의 건국시조신화요, 한국의 마지막 신화로 變異된 모습을 보이고 있음을 알 수 있다.

다국어 초록 (Multilingual Abstract)

Yongbiachunga is the greatest of the movements composed as a part of courtesy and music reorganization enterprise during the reign of King Se-jong, when was gradually settled the swirl following the decline of Koryo and the foundation of Chosun.
Since the era of Shilla to the end of Koryo, Buddhism was so highly thriving and corrupted as to be a threat to the national administration, and therefore, the newly rising nobility of Chosun rejected Buddhism and respected Confucianism from the beginning of the nation.
In Confucianism, courtesy and music were the mirror and essence of the national administration and human relations. With blooming Confucian government, King Se-jong, as soon as he invented Han-gul, the Korean alphabet, composed movements praising the foundation of Chosun for its majestic achievements and ordeals and ordered them to be played on the occasion of courtly feasts.
Yongbiachunga is an epic on the history of the foundation of Chosun, with the agitated age from the end of Koryo to the beginning of Chosun as its temporal setting, and the historical facts and legendary tales as its material. It is felt undeniable that Yongbiachunga has been studied solely from the linguistic viewpoints as the first poetry written in Han-gul, and, as a movement, depreciated into adulation literature. There have been recently some studies approaching it as an epic but they seem not to be developed such from the structural analyses. An epic involves undoubtedly mythological and legendary characteristics. In addition, Yongbiachunga includes many fables of oral tradition, and the author felt the necessity of studying it from the point of fable literature. Though Yongbiachunga is a purposeful and artificial work embodying the history of national foundation, the fact itself does not degrade the creational value of the work. It is a purposeful work, its value and success depend upon the extent to which the material-historical facts or tales of oral tradition-constructs an organic structure in the work to have anaesthetic quality corresponding to the purpose. Therefore, the author accepts the two characteristics of Yongbiachunga, one as a movement and the other as an epic, and studies on its internal characteristics.
1. Yongbiachunga is composed of Prologue, Verse 1 and 2, Narrative, Verse 3 to 124, and Epilogue, Verse 125. The Prologue and Epilogue have uniqueness and play as the opening and ending of every other verse.
2. The Narrative is subdivided into Upper Part of Verse 3 to 16, Middle Part of Verse 17 to 109, and Lower Part of Verse 110 to 124. The Upper Part - Part of Beginning Rulership is centered on the justification of the national foundation as a Heaven's decree, the Middle Part - Part of Divine Power of Saint on the heroism of Yi Taecho, the founder and protagonist, and the Lower Part - Part of Admonishing not to Forget on the warnings to the succeeding kings. The three parts have qualities as a foundation epic, heroic epic, and didactic poetry, respectively. Each part employs Verse 1 and 2 as a prologue and Verse 125 as an epilogue, but has a quality to exist as an unique movement and poetry by itself.
3. The Upper Part - Part of Beginning Rulership the foundation epic, emphasizes the what-should-be of the dethronement revolution, and as its archetype, it properly takes the national foundation of Chou, the Confucian Utopia. Accordingly, the part is unified with the lines on Chou and explains every fact in the light of Heaven's decree, in which the what-should-be of the revolution is sought. Its narrative attitude is factual and historical.
4. The Middle Part - Part of Divine Power of Saint, the heroic epic, is mainly on the heroism or holiness of Yi Tae-cho. The four kings play a role as "the noble lineage" of Yi Tae-cho, and each of them is consecrated in the monomythic structure of the rite of passage. Narratives employed here are mostly from tales of oral tradition or of folk beliefs.
5. The departure of Mok-cho from his hometown Chunjoo passess through the process of the ordeal and initiation rite of Ik-cho, Do-cho, and Whan-cho, resulting to the return of Whan-cho. The return is, however, not complete, when seen in the light of the national foundation of Yi Tae-cho. Therefore, the departure of Ik-cho is concluded in Tae-cho with his complete return.
6. The Lower Part - Part of Admonishing not to Forget, the didactic poetry, is different from the preceeding epic parts as it praises in the earlier lines the sufferings and majestic achievements of the six ancestral kings and gives in the latter lines warnings to follow the examples of the earlier kings. It is peculiar that the Lower Part is changed in its narrative viewpoint from heroism of the Upper and Middle Parts into humanism. The characters in the Lower Part are described realistically as human beings suffering from mortal hardships and difficulties during the course of their national foundation. The warnings to the following kings have therefore an appeal to the human heart.
7. If Yongbiachunga is viewed as an heroic myth centering on the national foundation of the hero, Yi Tae-jo was, even before the great achievement of the national foundation, resanctified through the rite of passage and initiation beginning from the departure of the four proceeding kings.
8. Yongbiachunga has characteristics of a biographical story of oral tradition with Yi Tae-jo as the hero.
In conclusion, the survey on Yongbiachunga revealed that it did not show flunkeyism only but represented far greater subjectivity hidden behind the irresistable trend of flynkeyism of the time.
In conclusion, Yongbiachunga is a movement and an epic, and has an organic structure as a whole, with each part having uniqueness. Its purpose is to find the what-should-be of the national foundation in the Heaven's decree as shown in Chou's foundation. Including many legendary tales as a heroic mythology, Yongbiachunga is a good materialization of folklore literature as well as a movement. With its ample factors of oral tradition, it is a myth of the Yi Dynasty and transformed into the last myth of Korea.

목차 (Table of Contents)

• 목차
• I. 序論 = 1
• II. 龍飛御天歌 出現의 歷史的 背景 = 10
• 1. 麗末·鮮初의 政治 社會相 = 10
• 2. 麗末·鮮初의 宗敎 思想相 = 14
• III. 龍飛御天歌의 構造 = 19
• 1. 全體構造 - 序詞, 結詞의 問題 = 20
• 2. 敍事部 = 26
• (1) 上部 - 開王業部 = 30
• (2) 中部 - 聖人神力部 = 35
• ① 前·後行의 關係 = 35
• ② 敍述의 觀點 = 39
• ③ 序詞, 結詞와의 關係 = 44
• (3) 下部 - 願母忘部 = 45
• ① 敍述의 觀點 = 45
• ② 짜임 = 48
• IV. 龍飛御天歌의 建國의 敍事詩的 性格 = 52
• 1. 周國創業의 原型的 性格 = 52
• (1) 周國創業과 天命思想 = 52
• (2) 天命思想 認知過程 = 59
• 2. 模型으로서의 朝鮮創業 = 60
• V. 龍飛御天歌의 英雄神話的 性格 = 67
• 1. 英雄敍事詩와 英雄神話 = 67
• 2. 傳承的 單一神話(monomyth)의 構造(I)와 受容樣相 = 74
• (1) 穆祖, 翼祖의 경우 = 74
• (2) 度祖, 桓祖의 경우 = 79
• (3) 太祖의 경우 = 83
• 3. 傳承的 單一神話 構造(II) = 93
• 4. 英雄傳記的 性格의 比較的 考察 = 97
• VI. 結論 - '龍歌의 事大性'에 대한 再考를 겸하여 = 106
• 參考文獻 = 112
• 英文槪要 = 117