筆寫本 華容道 硏究 : 作品群의 形成과 變異 樣相을 中心으로 = (A) Study of Handwriting 《Hwayongdo》

다국어 초록 (Multilingual Abstract)

The aim of this study is, by making handwriting 《Hwayongdo》 a subject of this study and setting up a group of different versions, to reason the aspects of variation and transmission exposed to the work, handwriting 《Hwayongdo》 . In order to perform this study, I collected forty different copies of handwriting and among them, selected 20 pieces belonging to Changbon group, as the major sources of the study.
In the second chapter, the reason 《Hwayondo》 came to be separated from the Chinese nobel, 《Samgukji》 and be formed into a new work 《Hwayongdo》 were examined. The early process of formation of 《Hwayongdo》 was considered as well.
《Samgukji》 is developed with the rise and fall of Chok centered on. 《Hwayongdo》, separated from 《Samgukji》, deals with Chukpyukdaejeon which played a crucial role in founding the Chinese country, Chok. It was formed in the process of translating and expanding the story of 《Chukpyukdaejeon》. The condition which caused 《Hwayongdo》 to be made up could be identified in the structure of 《Samgukji》. The circulation of many books and change of consciousness on the viewpoint of looking at novels contributed in constructing 《Hwayongdo》 as welll.
The early features of 《Hwayongdo》 was chased in 《Hwayoungdotaryong》 and the forming process of 《Chukpyukga》 written by Shin Jaehyo was also examined.
In Chapter 3, groups were established centering on the forty copies of Handwriting 《Hwayongdo》 《Hwayongdo》 is not just an reading material. It reflects various aspects of record and information by word of mouth. Therefore, the already established viewpoint that 《Chukpyukga》 is Pansori Sasol and 《Hwayongdo》 is just a reading material should be corrected. In order to prove it the contents of the forty copies of Handwriting 《Hwayongdo》 were introduced in full detail
In Chapter 4, with 20 pieces of Handwriting belonging to Changpon group the subject of the study, I divided them into six pieces of common paragraph and examined the aspects of their formation and variation. Through this, I looked into the a view of the world which people of the day had as well.
Handwriting 《Hwayongdo》 can be classified into two types; one with song inserted into the currency of the reading material and the other with singing function intensified. This tendency proves that Handwriting 《Hwayongdo》 was made up in the process of dismantlement and reorganization of reading material translated. The principle which acted in the formation of 《Hwayongdo》 is expansion by using formal-typed phrases. The formal-typed phrases were commonly used to Sijo, Gasa, Muga, etc at that time. Accordingly, it can be inferred that 《Hwayongdo》 was made up with the union of reading culture and singing culture.
The theme which dominates 《Hwayongdo》 is the ideology of loyalty. But inserted song reflected the earnest wish to restore the essential life of human beings and the will to overcome reality.
In Chapter 5, the characteristic of the social stratum who created 《Hwayongdo》 was examined. Not only Pansori entertainers but also Gagaks(which means singers) who were in charge of Shijo-Chang played a leading role in forming 《Hwayongdo》. Such a fact could be identified by Shijo written by Gagaks. The marks of Yeonhaeng Culture(which means enjoying performing dancing and playing) of the day could be traced in 《Hwayongdo》 as well.
The already established studies have been developed with Pansori Sasol 《Chukpyukga》 as a central figure. Handwriting 《Hwayongdo》 has both of two characteristics at the same time; the characteristic of recording reading material and informing material for song by word of mouth. Therefore, only when 《Chukpyukga》 is studied within the scope of 《Hwayongdo》 can it be approached in the right direction.
Until now 《Hwayongdo》 has been discussed only in terms of Pansori Sasol. It resulted from the difficulty of access to the materials. Now that many handwriting materials are open to the public in earnest, this will, hopefully, spur deeper discussion on this field.

목차 (Table of Contents)

• Ⅰ. 서 론 = 1
• 1. 문제제기 = 1
• 2. 연구사 검토 = 2
• 3. 연구 대상 및 방법 = 10
• Ⅱ. 《華容道》 형성의 배경 검토 = 12
• 1. 《華容道》 형성의 동인(動因) = 12
• 가. 《三國志演義》의 전승 과정 = 12
• 나. 《華容道》 형성의 구조적 요인 = 15
• 다. 《華容道》 형성의 사회·문화적 요인 = 22
• 2. 《華容道打令》과 신재효본 <赤壁歌>의 성격 = 26
• 가. 《華容道打令》의 성격 = 26
• 나. 신재효본 <赤壁歌> 형성의 의미 = 35
• Ⅲ. 《華容道》 작품군의 성격(性格)과 서지(書誌) = 45
• 1. 전체 작품군의 性格 = 45
• 2. 《華容道》 작품군의 서지(書誌) = 50
• 가. 창본 계열 = 50
• 나. 완판 계열 = 66
• 다. 독서물(소설본) = 72
• Ⅳ. 《華容道》 작품군의 변이 양상 비교 = 76
• 1. 서두 : 배경의 제시와 인물 소개 = 79
• 2. 공명(孔明)의 등장 = 85
• 3. 촉(蜀)과 오(吳)의 연합 = 97
• 4. 적벽대전(赤壁大戰) = 118
• 5. 조조(曹操)의 패주(敗走) = 164
• 6. 결말 = 214
• Ⅴ. 《華容道》 작품군 전승의 의의 = 222
• 1. 《華容道》 사설(辭說)의 담당층 = 223
• 2. 《華容道》 작품군의 연행적 성격 = 234
• 가. 해체와 변용 = 234
• 나. 공식적 표현구의 수용 = 242
• 다. 당대 연행 관습의 반영 = 244
• Ⅵ. 결 론 = 250
• ■참고문헌 = 258
• ■Abstract = 265