『몽골비사』의 은유적 인물 포폄 ― 흑백 대조와 말(馬) ―
Metaphorical Character Criticism in the “Secret History of the Mongols”:Black-and-White Contrast and Horses
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The Secret History of the Mongols(hearafter SHM)is a historical record, but the characters and events within it are embellished with various metaphorical expressions. The contrast between black and white along with the horse symbol is one such device. In Mongolian culture, black is associated with negative connotations and antagonistic characteristics, whereas white is associated with positive meanings and protagonists. Furthermore, in folklore and epics, the horse represents the role or situation of the character with which it is associated. The author of the SHM applied this framework, closely associating Temujin with the color white. There are several examples, but notably, a white-mouthed horse appears only in connection with Temujin and specifically in situations where he narrowly escapes death, as white markings are symbols of good fortune and luck in Mongolian culture. The author used a white-mouthed horse to represent Temujin, such as in a scene where, after being shot in the neck and struggling on the brink of death, Temujin awakens and interrogates his captors, asking not who shot him but who shot his white-mouthed horse and indirectly questioning who attempted to kill him. This ‘dialogue’ reflects the author’s modifications or creations, showcasing how the SHMs’ author used white to portray Temujin’s positive ‘role.’ Conversely, Ong Qan and Jamuqa, who opposed him, were associated with black. Before their battle with Temujin, a Qali’un horse with a black mane and tail appeared. The black implications include war, power, evil, and death. As Ong Qan and Jamuqa were the only formidable opponents who pushed Temujin to the brink, the Qali’un horse was associated with them. Additionally, their lives were characterized by the colorblack. They beat black drums, rode black horses, demeaned themselves using black faces, and wore black clothes during captivity. These descriptions appear particularly in poetic expressions or contexts that criticize them. Thus, the author of SHM used black to represent their negative ‘roles.’ However, all of these figures are historical, and their actions are part of historical events. The author of SHM set roles for these historical figures, which amounted to critiquing them. This critique was rendered in contrasting shades of black and white. This means that the author of SHM, in recording the private life of Temujin’s established state, adopted a regime-friendly narrative. Therefore, we should not view the poetic and metaphorical narrative of SHM as an obstacle to Mongolian historical research, but rather as a conduit through which to decode the author’s subjectivity. Thus, we can fully utilize SHM. This study examines the author’s perspective on SHM with such expectations.
Abstract
The Secret History of the Mongols(hearafter SHM)is a historical record, but the characters and events within it are embellished with various metaphorical expressions. The contrast between black and white along with the horse symbol is one such device. In Mongolian culture, black is associated with negative connotations and antagonistic characteristics, whereas white is associated with positive meanings and protagonists. Furthermore, in folklore and epics, the horse represents the role or situation of the character with which it is associated. The author of the SHM applied this framework, closely associating Temujin with the color white. There are several examples, but notably, a white-mouthed horse appears only in connection with Temujin and specifically in situations where he narrowly escapes death, as white markings are symbols of good fortune and luck in Mongolian culture. The author used a white-mouthed horse to represent Temujin, such as in a scene where, after being shot in the neck and struggling on the brink of death, Temujin awakens and interrogates his captors, asking not who shot him but who shot his white-mouthed horse and indirectly questioning who attempted to kill him. This ‘dialogue’ reflects the author’s modifications or creations, showcasing how the SHMs’ author used white to portray Temujin’s positive ‘role.’ Conversely, Ong Qan and Jamuqa, who opposed him, were associated with black. Before their battle with Temujin, a Qali’un horse with a black mane and tail appeared. The black implications include war, power, evil, and death. As Ong Qan and Jamuqa were the only formidable opponents who pushed Temujin to the brink, the Qali’un horse was associated with them. Additionally, their lives were characterized by the colorblack. They beat black drums, rode black horses, demeaned themselves using black faces, and wore black clothes during captivity. These descriptions appear particularly in poetic expressions or contexts that criticize them. Thus, the author of SHM used black to represent their negative ‘roles.’ However, all of these figures are historical, and their actions are part of historical events. The author of SHM set roles for these historical figures, which amounted to critiquing them. This critique was rendered in contrasting shades of black and white. This means that the author of SHM, in recording the private life of Temujin’s established state, adopted a regime-friendly narrative. Therefore, we should not view the poetic and metaphorical narrative of SHM as an obstacle to Mongolian historical research, but rather as a conduit through which to decode the author’s subjectivity. Thus, we can fully utilize SHM. This study examines the author’s perspective on SHM with such expectations.
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