신라 <처용가>와 고려 <처용가>의 내용과 기능의 차이

Abstract

This paper focuses on the definite difference between <Cheoyongga> of Goryeo and <Cheoyongga> of Silla in terms of the contents, functions, stylistic features and application of incantation principle even though <Cheoyongga> of Goryeo was based on <Cheoyongga> of Silla. On those aspects, this paper tried to identify the difference between both works as discussing each work independently and on what aspects both works were related to each other. The intrinsic meaning of the accompanied tales of <Cheoyongga> of Silla was analyzed. In accordance with the examination on the relationship between <Cheoyongga> of SIlla and the prosperous Buddhist culture during Silla period, Cheoyong in Goryeo was the sea god and the prince of the Dragon King in the East Sea protecting Buddhism and the country with the virtue of Buddhistic generosity as well as ruling a country and taking care of the vulnerable by helping the king Heongang. <Cheoyongga> of Silla described the Buddhistic generosity or non-discrimination generated on the basis of the dragon god religion or philosophy which was closely connected to the history of establishment of Manghaesa Temple or Sinbangsa Temple. <Cheoyongga> of Silla has the completely different contents from <Cheoyongga> of Goryeo describing the folk religious eradication of evil spirit. Furthermore, <Cheoyongga> of Silla doesn't contain any incantation principle such as threatening elements or stylistic features as the shamanism works, that is, imperative mood. <Cheoyongga> of Goryeo based on <Cheoyongga> of Silla describing Buddhistic generosity or non-discrimination was changed into the prayer on the basis of folk beliefs to win in the war against Mongolian invaders using the mystic power of Cheoyong. It was recreated for the "Cheoyong Play" performance held in the royal court. <Cheoyongga> of Goryeo comprises five stages in terms of lyrics: ① narration, ② admiration on the appearance of Cheoyong's father, ③ dignity of Cheoyong's father, ④ threat by the fever devil, ⑤ origin of the great devil fever], in other words, calling out the god(招神) → admiring and entertaining the god(娛神) → doing exorcism(賽神) → making an incantation(呪詞) → and making a wish(發願). It seemed that <Cheoyongga> of Goryeo used the form of shamanism works to cope with the needs of the time at that time in the reproduction process. While Cheoyong was described to have the virtue of Buddhist generosity in the front part of lyrics, his identity was changed into the natural enemy of threatening and oppressive fever devil at the end.