싱의 희곡의 “힌트”로 읽는 「어촌」 -이익상의 단편소설과 "Riders to the Sea"의 일본어,한국어 번역의 비교문학 연구

권정희 ( Jung Hee Kwon ) 한국문학언어학회(구 경북어문학회) 2016 어문론총 Vol.67 No.-

이 글은 이익상(李益相)의 단편소설 「어촌」(1925.3)에 ``힌트``의 영감을 준 싱(J. M. Synge)의 희곡 "Riders to the Sea"(1904)의 영향을 가시화하기 위한 것이다. 「어촌」은 동시대 「조선문단합평회」(1925,4)에서 "퍽 좋은 제재"로 상찬되었으며, 현진건에 의하여 "애란 극작가 씽그의 『해의 기사』에서 힌트를 얻은 듯싶"다고 추정된 바 있다. 식민지기 한국의 문인들이 아일랜드 희곡에서 많은 영향을 받았다는 것은 주지하는 바이지만, 오늘날까지 「어촌」이 싱의 "『해의 기사』"로부터 얻었다는 ``힌트``의 구체적인 내실은 해명된 바 없다. 따라서 본고에서는 단편소설 「어촌」을 싱의 희곡의 일본어·한국어 번역과 비교함으로써 ``힌트``의 영향을 드러냈다. 한국 문인에 미친 싱의 희곡의 영향 관계에 관한 선행 연구에서는 영어 원작과 한국문학의 관련성을 분석함으로써 일본어·한국어 번역을 분석 대상에서 결락시켜 왔다. 그러나 문화 ``접촉(contact)``의 산물로서의 ``힌트``의 영향의 특질에서 당대 유학파 이익상이 접했을 일본어 번역과 한국어 번역의 매개의 존재는 간과될 수 없다. 즉, ``힌트``의 영향 연구는 장르와 언어 등 미디어(media)의 매개성(mediacy)의 문제를 수반한다. 따라서 본고에서는 복수의 일본어·한국어 번역 등의 번역 텍스트를 중심으로, 「어촌」에 끼친 싱의 희곡의 ``힌트``라는 비교문학 연구의 다양한 가능성을 모색했다. 그 결과, 「어촌」의 이질적인 소설 세계의 내적 구조와 특질을 해명하는 소설의 원천(source) 으로서의 싱의 희곡의 관계가 입증되었다. 또한 싱의 희곡의 ``힌트``에 발단한 영향은, 「어촌」의 소설 세계의 특질을 소설과 희곡의 크로스 장르 (Cross Genre)의 문제에서 조명하는 새로운 시각을 부여한다. 이를 통해 공동성의 비극과 단독성(singularity)의 초월의 상상력이라는 「어촌」의 새로운 텍스트 해석을 시도하고 이것이 싱의 희곡 번역의 ``힌트``에서 가능한 것임을 논구했다. ``힌트``의 영향을 창의성의 결핍으로 간주했던 기존 인식에 대하여 이 글에서는, 그것의 문제는 비교문학 연구의 중요한 주제라 할 원천과 창의성의 관계성과 관련한 것임을 살핀 것이다. The purpose of this article is to analyze the impact which the drama, Riders to the Sea(1904) written by J. M. Synge had on the short story, "Eochon" (1925.3) by Lee, Ik-sang by providing inspiration in the form of ``hint.`` "Eochon" was praised as "fairly good subject" by its contemporary association, 「Panel Discussion of Chosunmundan」(1925,4) and was assumed by Hyeon, Jin-gun to "have apparently gained a hint from the Irish playwright Synge`s drama, Riders to the Sea. Though it has been well known that Colonial Korean writers underwent substantial influences from Irish plays, the specific content of the ``hint`` that "Eochon"took from Synge`s play has not been elucidated yet. Accordingly, this study explored the effect of the ``hint`` by comparing "Eochon" with Japanese · Korean translations of the Synge`s play, Riders to the Sea. The precedent studies on the influence the Korean Literature received from the Synge`s drama have been focused on the relations between Irish work and Korean Literature by omitting Japanese · Korean translations from analysis object. However, concerning the characteristics of the influence of ``hint`` as the product of cultural ``contact``, the presence of mediation, the Japanese version and the Korean version of the Synge`s play cannot be overlooked, which Lee, Ik-sang encountered while studying abroad. That is, the study of the influence of ``hint`` involves the issues of mediacy and media such as language and genre. . In this context, centering on the multiple translated texts in Korean and Japanese, the various possibilities of comparative study were explored in terms of the influence of ``hint`` from Synge`s drama on "Eochon" As a result, this study demonstrated the subject short story`s relation with Synge`s drama was a source that explains the internal structure and characteristics of its extraneous world. In addition, with the influence derived from the ``hint`` of the drama, a new perspective was possible that sheds light on the characteristics of its world in terms of issue of cross genre between short story and theater. In such aspect, this study attempted a new text interpretation, like that of tragedy of the community, and imagination of transcendence of singularity and conducted a exhaustive analysis, so that this new text interpretation was possible from the ``hint`` of the translated plays of Synge. The influence of ``hint`` has been regarded as a lack of creativity. However, in this paper, its problem concerns the relationship of source and creativity, which must be an important issue in the study of comparative literature.

싱과 그레고리 여사의 작품에 대한 고찰

변형택(Byun, Hyung Taek) 새한영어영문학회 2016 새한영어영문학 Vol.58 No.1

Contrary to the common belief that Lady Gregory and Synge were literary comrades dedicated to the Irish Renaissance, a few recent significant studies suggest the relationship between the two dramatists involved strain and competitiveness from the start. Lady Gregory, conscious of Synge’s expertise in the culture of the Aran Islands, must have found some form of potential rivalry with him in writings on the islands. Her lifelong possessive literary focus on Yeats continued to remain a key limiting elements in her relationship with Synge. Nonetheless, many literary and dramatic connections between Synge’s plays and Lady Gregory’s from 1902 onwards reflect complex cross-influences and elliptically-expressed rivalries between the two writers. In addition, both of them made use of a disturber figure with superior power of imagination and language, who challenges the everyday materialist concerns of the inhabitants, thereby bringing them to a moment of crisis or revelation. While Gregory’s artist-disturber figure generates the hope of concord rather than loss and political rupture, Synge’s heroes serve to reveal unpleasant fundamental truths. Her lifelong feelings and judgement of Synge show the mixture of admiration and distaste at her heart. This ambivalent attitude derived from her partiality for Yeats, but it also drove her to firmly support Synge’s literary achievements.

싱의 『바다로 가는 기수들』에 나타난 비극적 효과

김동율 ( Kim Dong-yule ) 대한영어영문학회 2004 영어영문학연구 Vol.30 No.3

Riders to the Sea is about a fate-ridden mother, Maurya, facing the tremendous destructiveness of the Sea which has drowned the last of her six sons. It describes the real lives of people, their language and their social customs in Ireland, and may seem to be a simple disaster of a family, not a tragedy. Although the raw material is present in his essay The Aran Islands, Synge presents an unimpassioned telling which is unified, focused and given wider context for the purpose of his dramatic recreation. J. M. Synge gives the simple incident story divisive and extended meanings, using his peculiar tragic view and symbolic realism and a rich verbal expression which makes the play poetic. The story is based primarily upon his observation of an actual incident in Inishmaan, the middle island of the Aran Islands. Synge artistically compresses the thirty year history of struggle between the hostile ocean and Maurya into a short one-act tragedy of classic simplicity. Synge transforms Maurya from an old and miserable woman into a tragic heroine, by evoking a mood of stoical acceptance that dignifies the primitive humanity of the helpless survivor. Maurya becomes a noble figure of stark, epic dignity who maintains her self-restraint. Although the loss of all six sons, as well as her husband and her father-in-law is dramatized in the sorrowful mood of resignation, her individual fate is extended to the fate of all left behind when fisherman meets tragic ends at sea. The heavy loss of life among the Aran fishermen in the turbulent ocean and a mother's intense sensitivity to universal tragic meanings produce in Maurya a new awareness of the real meaning of her life. To emphasize the fundamental tragedy of life, Synge dramatizes banal lives in Ireland through poetic and symbolic forms. Especially, Synge makes effective use of poetic dictions and expressions from the colloquial dialogues of primitive Irish society. The various forms of native speech or peasant idioms and symbolism work as a tragic device in the play, and may be said to be an organic aspect of his tragic theme. < Korea Maritime University >

『슬픔의 디어드러』를 통해 본 씽의 진보적 켈트문화 부흥운동

김영미 한국중앙영어영문학회 2014 영어영문학연구 Vol.56 No.4

This paper is intended to analyze J. M. Synge’s progressive perspectives in his last stage play, Deirdre of the Sorrows. Throughout his work, he was mainly interested in depicting his comtemporary Irish people, and his main concern was self-realization and self-actualization to fight against the oppression from the societal and political systems. Compared to his previous works, Deirdre of the Sorrows looks like a drastic change in his overall theme and character composition. He intentionally chose Deirdre to show that focusing on the heroic glory of the past is not going to help build their new Ireland. Synge described his Deirdre as an independent woman who is able to make her own decisions in her life including her marriage, her life, even her own death, regardless of the prophecy and others’ will. Also, Synge took the image of Conchubor, the warrior king, and turned him into a mere old man who is obsessed with youth, wealth and power. As a moderate nationalist, Synge has always objected to the propaganda of radical nationalists. So, Synge, after having to deal with all the objections against his previous dramas, finally planned this play, appropriating their favorite archetypal figures and symbols to counterattack their creed.

The Role of Tinkers in J. M. Synge’s Exploration of National Identity

박성희 21세기영어영문학회 2023 영어영문학21 Vol.36 No.3

In early-twentieth-century Ireland, a period marked by fervent efforts toward establishing a new independent nation, Irish Literature saw the emergence of an increasing number of stranger figures. In particular, the recurrent presence of “tinkers” as a central motif in dramatic texts of this era invites a close investigation, given the profound influence of Irish drama and theatre on the formulation of Irish national consciousness. J. M. Synge, one of the most prominent playwrights of the Irish Literary Revival period, examined Irish identity through his work. This paper endeavors to illuminate Synge’s distinctive perception of the nascent Ireland and his way of constructing Irish national identity, focusing on the role of wanderers in three of his plays: In the Shadow of the Glen (1904), The Well of the Saints (1905), and The Playboy of the Western World (1907). I argue that Synge strategically employs the archetype of the outsider, specifically the “tinker,” to explore the national identity and the values of the burgeoning Irish nation. Synge portrays these stranger characters with attractiveness, positioning them as a potential alternative to the conservative and repressive societal norms of the insiders. However, these figures turn out to be unacceptable to the established community and remain outside the border at the end of the plays. Ultimately, Synge attempts to use his wandering characters as instruments of upheaval and purification, thereby expunging the enduring remnants of British influence from Irish nationality and creating space for the emergence of a new, yet-to-be-established Irishness.

존 밀링턴 싱의 『서구세계의 플레이보이』:영웅의 의미와 자기창조의 미학

박두현 ( Doo Hyun Park ) 한국제임스조이스학회 2014 제임스조이스저널 Vol.20 No.2

This paper traces out the heroism and the process of self-creation that the hero, Christy Mahon in The Playboy of the Western World written by John Millington Synge, carries his journey through. Before Synge’s plays, the legendary heroes in Irish storytelling tradition have shown that they had innate physical capability and autonomy in the face of many obstacles. Commentators have never mentioned about the community’s desire and contingent values, which can turn some private individual into a hero. Christy’s process of self-creation in Synge’s play is to a great degree influenced by the community called Mayo. In this sense, the heroism Synge has described can be interpreted as a result of the interaction between the community and Christy Mahon. Furthermore, the author shows the cultural politics, because through the play he offers the new meaning of heroism his country may need in the future.

신화의 극화: 『슬픔의 디어드라』에서 탈신화하기

김인표 한국현대영어영문학회 2013 현대영어영문학 Vol.57 No.1

Kim, Inpyo. “Dramatization of a Myth: Demythologizing in Deirdre of the Sorrows”. Modern Studies in English Language & Literature 57.1 (2013): 33-51. J. M. Synge wrote six plays in his life, all of which are peasant plays except his last one, Deirdre of the Sorrows. While he was writing Deirdre of the Sorrows, Synge knew that he was dying and his ideas in the play seem to reconcile with his dying situation. Deirdre of the Sorrows is based on a famous story from Irish mythology, “Fate of the Sons of Usnach”, from the Ulster Cycle. The original Deirdre story has some peculiar characteristics: It contains mysterious and supernatural elements; Deirdre, a heroine, can be called a romantic heroine because she has ideal beauty and she is passive and sentimental; Deirdre as a female is dominated by male characters, Conchubor and Naisi; There exists an idea of ``geasa`` (bonds) in the story which is unique in Irish mythology; and the main characters are all ruined by Fate. In his three-act play Synge transforms the elements in the original myth by demythologizing them. The mysterious and supernatural elements have all but disappeared and the idea of ``geasa`` can not be found in the Synge`s work. Deirdre is not a romantic heroine but an active person and possessing a strong will. She is not dominated by male characters. Her behavior is motivated by human interests. Nature is prevalent in the play and Deirdre is harmonized with it. Furthermore, Deirdre is not influenced by Fate and she makes a decision for herself. Thus, in dramatizing the ancient myth and by demythologizing it, Synge showed his originality in Deirdre of the Sorrows. (Kongju National University)

함세덕과 싱(J. M. Synge)의 희곡에 나타난 바다와 죽음의 의미 : 『바다로 가는 기사들』, 『산허구리』, 『무의도기행』을 중심으로

김진규(Kim Jin-Gyu) 문학과 환경학회 2010 문학과 환경 Vol.9 No.1

This paper addresses the meaning of sea and death on Ham Sae-Deok and John Millington Synge’s play. The colonial Korean playwrights acknowledged Synge as an Irish playwright who vividly depicts the Irish peasants’ life. Like Synge, Ham tries to capture the reality of colonial Korea farmers’ sufferings and dramatize it, which became a prototype of Korean drama at that time. Synge’s play, "Riders to the Sea", describes the deaths of eight fishermen from a family. Their deaths depend on geographical factors of the Aran Islands, the west coast of Ireland. Fishermen try to maintain their livelihood by raising livestock and selling it to the land but fail to survive in the end. Synge depicts the Aran Islands as the best-preserved place of the Celts in this play. The death scenes in the colonial Korean fishing village are portrayed in Ham’s play, "Sanheoguri"(산허구리) and "Mooudo Gihang"(舞衣島紀行). These tragedies are caused by Japanese colonialism and empirical capitalism. "Sanheoguri"(산허구리) describes the pain that village farmers have to undergo, which is caused by Japan’s exploitation. Also, "Mooudo Gihang"(舞衣島紀行) tells the death of Chunmyung, a young Korean fishermen who is victim of capitalist competition. I will explore how the death sceneshown in Riders to the Sea symbolizes Irish people’s inevitable fate. Then, I will examine how Ham’s two plays reflect on Korean fishermen’s sufferings, in comparison to "Riders to the Sea".

그레고리부인과 싱의 작품에 나타난 상호텍스트성

변형택 현대영미어문학회 2015 현대영미어문학 Vol.33 No.4

Originally introduced and utilized as a post-structural concept for the effective interpretation of literature and philosophy, intertextuality has been positively accepted as a significant literary strategy in postmodern literature. The works of Lady Gregory and Synge show implicit mutual influences from their relationship. These influences lead to intertextual/postmodern features, in that most of their literary works serve as cross references and are closely interrelated. These qualities stem from the writers’ intimate comradeship for the common cause of Irish renaissance, search for each other’s opinions, and Lady Gregory’s involvement in completing Synge’s texts. Specifically, Synge’s Riders to the Sea parodies the impossibility of humanist self-sacrifice imposed on the hero in Lady Gregory’s Cathleen ni Houlihan. Though the hero as a disturber appear in the texts of both the two dramatists, Synge’s characters in The Playboy of the Western World and In the Shadow of the Glen are a far cry from the idolized heroes of Lady Gregory. This intertextual resonance is confirmed in the background of their works as well.

Synge’s and Yeats’s Deirdre and Naisi : A Retelling of Romeo and Juliet

Beau La Rhee 한국예이츠학회 2013 한국예이츠 저널 Vol.41 No.-

이 논문은 존 밀링턴 싱의 작품『데어드라의 슬픔』을 셰익스피어의『로미오와 줄리엣』과 예이츠의 『데어드라』를 비교, 탐구한다. 싱과 예이츠는 그들의 극을 아일랜드의 데어드라 전설에 근거했지만 줄리엣의 특징을 가지고 있는 싱의 데어드라는 여전히 어렴풋하고 신화적인 예이츠의 여주인공과 크게 다르다. 싱의 데어드라는 신성하거나 거룩하지도 않지만 인간임이 무엇인지 보여주는데, 이것은 그가 작품을 쓰고 있을 당시에 가졌던 그의 삶에 대한 고민들을 반영한다. This paper explores J. M. Synge’s Deirdre of the Sorrows in comparison with Shakespeare’s Romeo and Juliet and Yeats’s Deirdre. Synge and Yeats based their plays on the Irish legend of Deirdre, but his, having traits found in Juliet, greatly differs from Yeats’s heroine that remains to be yet distant and mythological. Synge’s Deirdre is not divine or heavenly, but shows what it is to be human, which reflects his life concerns he had at the time of its composition.