조선후기 판소리에 나타난 聖과 俗의 統攝 양상과 의미 -<춘향전>을 중심으로-

Abstract

The purpose of this article is to explore the relationship between sacred and profane appeared in Pansori literature in the late Choson Dynasty. It can be said that it is close to a theory that focuses on the “Hwangneung-myo” section of "Chunhyangjeon" to understand the pattern of the unity of the sacred and profane, and to apply the results of exploring its meaning to the entire pansori literature. In the early version of “Chunhyang-jeon”, the profane problem is solved through the intervention of the sacred by arranging Tae-mong and Paekyung-mong, but it does not secure enough narrative logic for the love between Chunhyang and Lee Mong-ryong. It seems that a new scene was created in Okjun-ga or Mongjun-ga because it was not enough to draw out the manifestation of the sacred itself, and the scene was the section of the Hwangneung-myo. The section of the Hwangneung-myo in “Yeolnyeo Chunhyang sujeol ga” provides a transcendent basis for Chunhyang's resistance to death through Ibi, Nongok, Wangso-gun, Nongae, Nongae, Nongae, Wolseon, and Cheok-buin. Based on the domain of the sacred, the norm of profane is linked to the act of Chunhyang, and by doing so, Chunhyang’s act is reborn as a realistic behavior that has secured a transcendental basis. Through this short scene, the area of the sacred, which did not function much in "Chunhyang-jeon," becomes fully established, and by functioning to support profane, the composition of the sacred is completed. On the other hand, in “Shin Jae-hyo Namchang Chunhyang-ga”, the main section of the Hwangneung-myo is replaced with the “Chunjangjeon section” to change the pattern of relationship between the sacred and profane. In the Cheonjangjeon section, Chunhyang explains that she will meet Lee Mong-ryong, break up, go through all kinds of hardships, and form a love with Lee Mong-ryong again, and Chunhyang is already set by her previous life. In “Shin Jae-hyo Namchang Chunhyang-ga”, the part of the Hwangneung-myo was replaced with the section of the Cheonjangjeon, and the sacred world which intervened in the existing <Chunhyangjeon> was also adjusted, weaving the narrative logic of the sacred. In other words, it is being evangelized by the intervention of profane by sacred. As a way to solve the same realistic deficiency, the consensus between the sacred and profane was attempted, and the opposite views of the people of the time were seen to logically resolve the conflict prescribed in “Chunhyang-jeon” at both extremes. The relationship between sacred and profane can also be applied to other pansori literature. The composition of sacred and profane is found not only in “Chunhyang-jeon”, but also in “Simcheong-jeon” and “Heungbu-jeon”. “Tokki-jeon” or “Jangki-jeon” borrows the form of fable and shows the refracted form of sacred and profane, and “Byeongangsoe-ga” and “Jukbeuk-ga” reveal the pattern of conflict between sacred and profane. “Baebijang-jeon”, “Gangneung Maehwa-Taryeong” and “Gajjashinsun-taryeong” make the sacred world a ‘fake,’ and in “Musuki-taryeong”, even these fake sacred are replaced by deception and disguise. Pansori literature mixed the relationship between sacred and profane in one way or another, functioning as a kind of ‘field of experimentation’ that contained the unity of sacred and profane, or vice versa, and the conflict between sacred and profane, and the refraction of sacred and profane. By doing so, it was possible to portray various aspects of life in a specific era called the late Choson Dynasty. Although the experiment was not concluded by consciously denying the world of sacred by the Western modern logic that was forcibly introduced from the outside in the early 20th century, the substance of pansori literature can be found in this incomplete conclusion.