〈趙氏孤兒 〉의 悲劇美 硏究

다국어 초록 (Multilingual Abstract)

This paper will deal with the Chinese aesthetic view point of tragedy that comes from a unique Chinese cultural background. With 《Zhao Shi Gu Er(趙氏孤兒)》 designated as great tragedy (大悲劇), I will study how tragedy is exposed in the work.
First of all, chapter II contains the typical Chinese aesthetic view point of tragedy expressed in traditional Chinese play and tragic view point revealed Yuan Drama(元代喜劇). It is not proper to value traditional Chinese play simply with western standard. Therefore, with the base of their unique tragic viewpoint, this paper observes what is called tragedy and how it is projected in the work.
Chapter III discusses beauty of tragedy of the work dividing it into structure(結構), characters and a revenge-contained ending.
In the first paragraph, the beauty of tragedy was considered in a confrontation between Tu An Gu (屠岸賈)under the control of another ethnic and front characters with various structural methods. Events that evoke a tragic mood have an elaborate structure using Mi Zhen Xian(密針線), contrast(對比) and other structural methods.
The second paragraph shows that there is a great gulf in power between tragic characters such as Han Jue(韓厥), Gong Sun Chu Jiu(公孫杵臼), and Cheng Ying(程영) and opposite character Tu An Gu(屠岸賈). This feature is the aesthetic viewpoint which can ofter be seen in traditional Chinese tragedy and creates characters of the play clearly contrasting the good and the bad.
The third paragraph observes a Chinese conclusion that ends with revenge. 《Zhao Shi Gu Er(趙氏孤兒)》 also leads to the revenge-contained denouement. In spite of it, the reason we can feel tragic beauty is on the scene in which Han Jue(韓厥) and Gong Sun Chu Jiu(公孫杵臼) sacrifice themselves to save an orphan and on the front characters' confronting ways with which Cheng Ying(程영) saves an orphan fighting against Tu An Gu's viciousness even sacrificing his blood child. For these reasons, it is enough for audiences to feel heroism and tragic feeling such as indignation.
Colligating the above-mentioned points, the Chinese aesthetic viewpoint of the tragedy shaped with the social and cultural background of China is different from that of the West. And these qualities, even though they are not sincere tragedy observed in western theory, make the audience feel heroism and indignation through front characters' confronting ways even after the protagonists' actions ended in victory. Therefore, we can't deny that sense of the tragic beauty which is given to audiences and 《Zhao Shi Gu Er(趙氏孤兒)》 actually confirmed it.

다국어 초록 (Multilingual Abstract)

This paper will deal with the Chinese aesthetic view point of tragedy that comes from a unique Chinese cultural background. With 《Zhao Shi Gu Er(趙氏孤兒)》 designated as great tragedy (大悲劇), I will study how tragedy is exposed in the work.
First of all, chapterⅡcontains the typical Chinese aesthetic view point of tragedy expressed in traditional Chinese play and tragic view point revealed Yuan Drarna(元代喜劇). It is not proper to value traditional Chinese play simply with western standard. Therefore, with the base of their unique tragic viewpoint, this paper observes what is called tragedy and how it is projected in the work.
ChapterⅢ discusses beauty of tragedy of the work dividing it into structure(結構), characters and a revenge-contained ending.
In the first paragraph, the beauty of tragedy was considered in a confrontation between Tu An Gu(屠岸賈)under the control of another ethnic and front characters with various structural methods. Events that evoke a tragic mood have an elaborate structure using Mi Zhen Xian(密針線), contrast(對比) and other structural methods.
The second paragraph shows that there is a great gulf in power between tragic characters such as Han Jue(韓厥), Gong Sun Chu Jiu(公孫杵臼), and Cheng Ying(정영) and opposite character Tu An Gu(屠岸賈). This feature is the aesthetic viewpoint which can ofter be seen in traditional Chinese tragedy and creates characters of the play clearly contrasting the good and the bad.
The third paragraph observes a Chinese conclusion that ends with revenge. 《Zhao Shi Gu Er(趙氏孤兒)》 also leads to the revenge-contained denouement. In spite of it, the reason we can feel tragic beauty is on the scene in which Han Jue(韓厥) and Gong Sun Chu Jiu(公孫杵臼) sacrifice themselves to save an orphan and on the front characters' confronting ways with which Cheng Ying(정영) saves an orphan fighting against Tu An Gu's viciousness even sacrificing his blood child. For these reasons, it is enough for audiences to feel heroism and tragic feeling such as indignation.
Colligating the above-mentioned points, the Chinese aesthetic viewpoint of the tragedy shaped with the social and cultural background of China is different from that of the West. And these qualities, even though they are not sincere tragedy observed in western theory, make the audience feel heroism and indignation through front characters' confronting ways even after the protagonists' actions ended in victory. Therefore, we can't deny that sense of the tragic beauty which is given to audiences and 《Zhao Shi Gu Er (趙氏孤兒)》 actually confirmed it.

목차 (Table of Contents)

• 目次 = i
• Ⅰ. 序論 = 1
• 1. 旣存硏究 및 硏究目的 = 1
• 2. 硏究方法 및 範圍 = 5
• Ⅱ. 中國人의 悲劇審美觀 = 8
• 1. 傳統的 悲劇審美 = 8
• 2. 元代劇曲에 드러난 悲劇觀 = 13
• Ⅲ. 《趙氏孫兒》의 作品分析 = 17
• 1. 結構 = 17
• 1) 結構分析 = 17
• 2) 結構技巧 = 22
• 2. 人物型象 = 37
• 3. 復仇式 결말 = 58
• Ⅳ. 結論 = 68
• 參考文獻 = 70
• 英文抄錄 = 73