저항 장면의 형상화로서 〈십장가〉가 거둔 성취

Abstract

Shipjang-ga(十杖歌, The Song of 10 Strokes Caning), one of the inserted songs in Chunhyang-jeon(春香傳, The Story of Chunhyang), is a kind of ‘number pun’ sung by Chunhyang who was caned by the newly appointed governor and used the number of strokes as alliteration of the pun. Out of many versions of Chunhyang-jeon, Namwongosa(南原古詞, The Old Story of Namwon) shows us a number pun which is not inserted in the caning scene but in Chunhyang’s monologue. This study, focusing on the difference between the number pun inserted in Chunhyang’s monologue and Shipjangga inserted in caning scene, compares their artistic accomplishment in terms of scene description. The conclusion is that the latter succeeds more artistic accomplishment than the former, achieving (1)graphic description of physical pain through vivid presence of the number and (2)dramatic tension through the instant-polyphonic composition. In short, the form of number pun was able to describe Chunhyang’s protest more vividly and dramatically, through the successful combination with the caning scene. Therefore, we can infer that Shipjang-ga inserted in the caning scene is more elaborate version and the number pun like in Namwongosa is its early version. The number pun, who couldn’t prove its merit in the stage of Namwongosa, could fully prove its artistic merit as it was moved into the caning scene in later versions. The people of the late Joseon(朝鮮) period did not present revolutionary ideology or logic through Chunhyang-jeon. But they created a new artistic form called Shipjang-ga to describe Chunhyang’s pain and protest more vividly and dramatically and it was widely appreciated. On this account, we can find the historical meaning of Chunhyang-jeon as a literature of the late Joseon period.