냄새, 개구리, 메피스토펠레스: 『향수』가 제기하는 악의 문제
Smell, Frog, and Mephistopheles: The Problem of Evil in Das Parfum
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초록
파트리크 쥐스킨트의 『향수』를 ‘계몽주의 이성의 파멸적인 변증’에 대한 비판 혹은 한 천재적인 예술가의 기이한 일대기를 다룬 독특한 포스트모던 소설로 평가하는 비평적 경향은 잔혹한 연쇄살인범 그루누이에게 도덕적 면죄부를 주는 위험을 수반한다. 본 연구는 상상을 초월하는 주인공 그루누이의 엽기적인 행각과 그의 존재 목적을 윤리적·종교적 관점에서 고찰하고 해석한다. 일말의 회한도 없이 도착적인 살인을 저지르며 인간사회의 파멸을 꾀하는 그루누이는, 전통적인 악한 혹은 한 사회가 상상할 수 있는 최악의 악몽을 투사하기 위한 수단적 존재의 범주를 벗어난다. ‘악마개구리’ 그루누이는 메피스토펠레스에 버금가는 교활함과 술수로 내러티브의 표면을 암행하며 자신이 죽음을 부르는 절대적인 악의 화신임을 증명한다. 그는 자신의 천재적인 재능으로 주검에서 추출한 ‘죽음의 향수’를 마치 성수인 양 사용해 사람들을 타락의 구렁텅이로 빠뜨리며, 종국에는 자신의 육체마저 해체하여 세례와 성만찬을 기괴한 방식으로 패러디한다. 그루누이가 제 몸을 제물로 바쳐 주제하는 ‘식인의식’은 악의 종말이 아니라 악의 귀환을 암시한다. 『향수』는 악에 대한 무관심과 망각이 악을 초대하는 치명적인 유혹의 향기임을 음산하게 일깨운다.
Abstract
Reading Patrick Süskind’s Das Parfum as a critique of “enlightened reason’s destructive dialectic” or as an extraordinary postmodern Künstlerroman is so influential that due critical attention has rarely been given to the protagonist Grenouille’s demonic genius, self-deceptive megalomaniac narcissism, and the atrocity of his practical evil-doing. Grenouille transcends the conventional images of villains and social outcasts onto which society projects its worst nightmarish fantasies. Skulking through the narrative with Mephistophelian cunning and stratagem, Grenouille persistently proves himself a deadly incarnation of Satanic power. Imposing upon himself the opposite biblical images of frogs and John the Baptist, to the detriment of the latter, he not only corrupts nearly all the citizens of Grasse but also attempts to nullify the life of Jesus and the religion founded upon it. Grenouille’s parodic denigration of the Lord’s Supper is a dark implication that his physical death hardly signals the termination of his diabolic power. Das Parfum is a gruesome reminder that moral indifference to evil is the most alluring seducer that paves a way for the revisitation of heinous and destructive evil power.
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