끝까지 군사들과 화합하지 못한‘신재효본 적벽가’의 조조

Abstract

After the great battle at Jeokbyeok, Jojo of <Romance of the Three Kingdoms> still maintain heroic appearance. he cruelly trampled his forces who got in the way of rout to death. And he didn’t lose the dignity when he run into Guanyu despite he have to beg for his life. However, Jojo was not acknowledged as hero from the first and lost even his cruelty after the war in the pansori <Jeokbyeokga>. Because Jojo was set to lose his all prestige as claiming responsibility for the lost battle in <Jeokbyeokga>. Jojo of <Jeokbyeokga> before the great battle at Jeokbyeok is described as more selfish and cruel than Jojo of <Romance of the Three Kingdoms>. But jojo of <Jeokbyeokga> after the war is quite belittled by Jungyuk and soldiers and depicted as pacificatory character pursuing harmony with them. Jojo’s double-sided character in <Jeokbyeokga> is contradictory in itself. It may be a strategy to realize essential subject, though. Soldiers symbolize the people in <Jeokbyeokga> and their consciousness is expressed as disobedience for meaningless aggressive war and desire for great leader. That’s the reason why soldiers reproached and belittled Jojo in ‘Gunsa Jeomgo’ and so on. If Jojo kept his absolute power and cruel nature as in <Romance of the Three Kingdoms>, It would be impossible. So I interpret a change of Jojo’s character after the great battle at Jeokbyeok as a product of communication strategy. ‘Shinjaehyo version Jeokbyeokga’ has a scene where Jojo killed Yubok just before the battle but no scene where Jojo held a funeral Yubok, too. Jojo before the war was set to more wicked man in common with other versions. Jojo in general version of <Jeokbyeokga> after the war is described as pacificatory character because of losing authority. Unlike such version, ‘Shinjaehyo version Jeokbyeokga’ is the only one depicting Jojo as a flat character maintaining consciousness of authority and personality of cruelty after the battle. As a result, week soldiers venture into intensive belittlement and satire to Jojo with absolute power and brutal nature and this situation leads to internal contradiction of the work. Because Shinjaehyo attempted hard adaption disregarding a pansori grammar deliberately which is permitting two-sided character. Therefore, from a ponsori perspective and this substratum, it must be open to criticism of excessive adaption. According to a perspective out of pansori viewpoint, this adaption can not be meaningless, though. In a modern point of view pursuing rationality and realism, the inconsistency of reality cannot be resolved fantastically. Likewise, a character of literary work is not supposed to change the personality unrealistically. Behind the matter Shinjaehyo described jojo as a flat character consistently, there are certainly a writer consciousness as a modern rationalist.