<홍길동전>에 나타난 공간 이동의 전통과 신화적 해석 - 동명계 신화와의 비교를 중심으로

Abstract

This paper focuses on identifying the tradition of spatial movement and its narrative value in the Honggildongjeon. The tradition of spatial movement was common in ancient founding myths, and the spatial movement in Honggildongjeon inherits the techniques of founding myths. Therefore, this paper identifies the tradition of spatial movement and interprets the movement from a mythological perspective. To summarize the discussion so far. First, the tradition and succession of spatial movement in classical narratives is identified. Mythology and classical novels are the genres that are most interested in spatial migration. In ancient founding myths, spatial movement is essential as pioneering heroes conquer new territories and build ancient nations there. This tradition has been inherited by classical novels. Works that deal with new countries and new worlds through spatial movement fall into this category. Second, the spatial movement in Honggildongjeon was interpreted in terms of mythology. Hong Gil-dong, the protagonist of this work, is similar to the hero of the Jumong myth. First, in both works, the hero develops his abilities in the country before the spatial shift. Generally speaking, the country before the spatial shift is represented as a world of deficiency and dissatisfaction for the protagonist. The spatial shift allows both works to realize the accumulated heroic abilities. Through the spatial shift, all of the protagonist's great desires are realized. The same characterization before and after the spatial shift suggests that the entire composition of Honggildongjeon is based on the founding myth. Third, the literary value of the spatial shift in Honggildongjeon was focused on. The spatial shift of the Jumong myth was adapted into Honggildongjeon, and changes were made in technique and content. First, the spatial movement was adjusted from a historical narrative to a literary allegory. The pioneering mythological narrative of ancient times was replaced by the fatalistic fictional narrative of the Middle Ages. Next, the spatial movement shifted from ancient land-based travel to medieval maritime travel. The medieval perception of the world is reflected in the shape of the work. Finally, the narrative goal is shifted from moving space to existing space. The narrative objective of the spatial movement is not a new country, but an existing country. Medieval settlement rather than ancient frontier life triggered this change.