《삼국연의》 주요 인물의 정형성 연구

Abstract

This paper mainly examines, analyzes, and organizes through ancient literature the formalities of characters in a long period of time, from the official history 《三國志》 to the novel 《三國演義》. In this paper, the formalities of two types of characters were intensively analyzed in relation to major characters. The first was to examine the formalities of the three characters, 劉備, 關羽, and 張飛, who can be said to be the main characters of 《三國演義》. As a result, the formality of 劉備 has already been established in the 《三國志》 stage, and 關羽 has also been confirmed to have the greatest external formality of ‘beautiful beard’. However, there is little description of 張飛’s image, and he confirmed that the image appeared in the private sector from the 唐 Dynasty and established the formality at the stage of the 《三國志平話》 published in the 元 Dynasty. In addition, it can be seen that 《三國演義》 inherits most of the characters of the characters stereotyped in 《三國志平話》. Second, using 曹操 and 鄧艾 as examples, we looked at the problem of how the formality of negative characters is embodied in the novel. 曹操 is regarded as a positive person in Chinese literature history as well as in its official history, but in the novel, as a person who stands in opposition to 劉備, it has been stereotyped as an embodiment of evil such as “漢賊” and “奸雄.” In addition, the character “鄧艾,” a general in the 魏 Dynasty, had a very weak presence in the 《三國志平話》 stage, but in the 《三國演義》 stage, he was depicted as a very important person as the one who broke down the 蜀. Despite his great achievements, I noted that basic images have always been caricatured, and a preliminary analysis has led to the conclusion that he has no choice but to be structurally stereotyped as a negative person at the opposite point of the 張飛. Finally, the 《三國志平話》 stage of the original period can be of great significance to the emergence of text with a complete narrative structure hundreds of years after the history 《三國志》. In the meantime, it can be seen that it has evolved mainly into the art of ‘說話’ during the 唐宋 Dynasty and the art of performing in the form of a theater during the 金元 Dynasty. In particular, actors who mainly acted in costumes and costumes on stage in the 元 Dynasty secured one fixed image, that is, one fixed formality for each character, and this was inherited as the formality of the characters in the novel 《三國演義》.