金聖嘆의 水滸傳 비평 (8)

Abstract

This study examines the patterns and features of Kim Seong-tan’s criticism on the 50th∼57th edition of Water Margin comprising 70 editions. There are three massive battles in the 50th to 70th edition. However, Kim Seong-tan’s criticism doesn’t seem to pay attention to the ostensible flow of narration or splendid battle scenes. He focused on less important elements which look ostensibly smaller and endeavored to find out the hidden meaning and function of those elements. The delicate change process of Li Kui’s characteristics, the appearance of Shi Qian like a petty theft created by elaborate description, and despairing appearance of Huyan Zhuo running away alone after the defeat in the battle show the diverse personalities of characters identified by Kim Seong-tan. Kim Seong-tan identified that the dispute between Zhu Tong and Li Kui, departure of Dai Jong and Li Kui to Jizhou(present Tianjin) and advent of Tang Long were one of devices for the connection and turn of events in terms of the development of the epic. Lyrics of Bai Xiuying, residential scene of Gongsun Sheng and the household of Xu Ning are highly evaluated in terms of lyrical aesthetics enriching the dignity and elegance of stories. Such criticism induces to stop conventional approach of reading ‘Water Margin’ focusing on stories and contents and to reflect on the general approach of reading. This study is the question on the nature and direction of criticism as well as one of answers to that question.