「암흑 도시 패망의 왕: 한 푼어치 푸성귀와 한 푼어치 당과」의 해학과 담론
Humor and Discourse in Andhera Nagarī Caupaṭṭa Rājā: Ṭake Sera Bhājī Ṭake Sera Khājā
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본 논문은 바르뗀두의 해학극 「암흑 도시 패망의 왕: 한 푼어치 푸성귀와 한 푼어치 당과」(1879)의 해학 기법과 담론을 연구한 것이다. 그동안 19세기 중엽 형성된 힌디어 해학극은 해학 기법보다 풍자 기법을 더 활용하는 것으로 알려져 왔지만, 본 논문에서는 이 작품이 해학극으로서 해학 기법을 주로 활용하고 있음을 극의 기법 분석을 통해 밝힐 것이며, 해학은 근대극이 내포하는 시대의식 중에서 민감한 정치 현실을 다룰 경우 더 활용되고 있음을 밝힐 것이다. 이를 통해서 19세기 힌디어 근대극의 형성 및 분화 과정에서 문학 기법과 특정 담론이 연관되어 있음이 드러나게 될 것이다. 19세기 중엽 형성된 해학극에서 풍자와 해학 기법을 활용하는 경중의 차원도 다루는 주제에 따라 달라진다는 가설을 세우고 특정 담론과 특정 문학 기법이 상관관계를 맺고 있음을 밝히고자 했다. 희곡 「암흑 도시 패망의 왕: 한 푼어치 푸성귀와 한 푼어치 당과」는 서사구조, 인물설정, 패러디, 대사를 해학 기법을 통해서 웃음을 자아내게 구성함으로써 탐욕에 대해 철학적 차원에서 경종을 울리고 영국 식민통치자의 식민성을 고발한다는 무거운 주제를 가볍게 전환하여 대중에게 전달하였다. 영국 식민통치자라는 타자에 대해 피식민 지식인이자 문인인 바르뗀두는 반식민 의식을 우회적으로 표시하는 방법으로 해학의 기법을 사용하여 표현하였다. 이를 통해 힌디어 해학극은 민감한 정치적인 현상을 소재와 주제로 삼을 경우 해학 기법을 통해 표현함을 분석함으로써 문학의 내재적인 요소와 외재적인 요소가 상관관계를 맺고 있음을 밝혔다.
Abstract
This study is a study of the humor and discourse of Bhāratendu Hariścandra’s comedy, Andhera Nagarī Caupaṭṭa Rājā: Ṭake Sera Bhājī Ṭake Sera Khājā(1879), a representative text of modern Hindi play in India. While it has been known that Hindi comedies formed in the mid-19th century utilized satirical techniques more than comedic techniques, this paper will reveal through an analysis of the play’s techniques that Andhera Nagarī Caupaṭṭa Rājā: Ṭake Sera Bhājī Ṭake Sera Khājā utilizes comedy as its main technique, and that comedy is utilized more when dealing with sensitive political realities. In doing so, it will reveal that literary techniques and specific discourses were involved in the formation and differentiation of modern Hindi play in the 19th century. It is hypothesized that the level of levity in the use of humor and comedy in comic plays formed in the mid-nineteenth century depends on the subject matter being addressed, and that certain literary techniques are correlated with certain discourses. By using narrative structure, characterization, parody, and dialogues to generate laughter through comedic techniques, the play lightens the heavy themes of philosophical warnings against greed and accusations against the colonialism of the British colonial rulers. As a colonized intellectual and literary figure, Bhāratendu used comedy as a way of expressing his anti-colonial consciousness in a circumventive way. By analyzing that Hindi comedy plays circumvented sensitive anti-colonial discourse by using comedy rather than satire as their subject matter and theme, this study reveals the correlation between intrinsic and extrinsic elements of literature.
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