딱지본 옛소설 사명당전四溟堂傳의 판본과 유통 맥락

Abstract

This paper aims at examining the background of the ttakjibon old novels “Story of Samyeongdang” published in the 1920s and the characteristics and distribution channels of its various versions. As a result of the extensive publication ban imposed during the Japanese colonial rule in the 1910s, ttakjibon old novels were mass-produced, most of which were biographies of the great men from the Joseon Dynasty. This is not only because ttakjibon old novels were related to cultural nationalism which focused on the things representing the Joseon era and the identity of the time but because they were the most suitable style that could meet the expectation and desire of readers who wished to see the emergence of a hero under the Japanese colonial rule. This cultural background contributed greatly to the trend where four different versions of ttakjibon old novels of “Story of Samyeongdang” were produced and enjoyed in the mid to late 1920s. First, Deokheung-Seorim’s version published in 1926 consisting of five chapters was a historical novel with a strong tendency to enlightenment concentrating more on historical fact like modern history or biography literature than on popular trends. Second, Yeongchang-Seogwan’s version created in 1926 was the version with the most narratives. This version was close to a historical novel as it described the entire life of Samyeongdang, but it also sought popular fun by main streaming the domestic tragedy he experienced before he became a Buddhist monk. Narratives about his joining of the Buddhist priesthood varied by part but served as a base for future versions. Third, Hoedong-Seogwan’s version published in 1928 showed differences in some parts but could be said as a variation of the Yeongchang-Seogwan’s version. Narratives about his life after he became a Buddhist monk, however, presented a more organized development with a focus on Samyeongdang himself than the Yeongchang-Seogwan’s version. Fourth, Singu-Seorim’s version released in 1928 was a summary of Yeongchang-Seogwan’s version by excerpting and editing it. It is fair to say that Yeongchang- Seogwan’s version might have transferred its copyright because the two versions shared very similar formats and narrative structure.