『한중록』과 『가게로닛키(蜻蛉日記)』의 패러디

Abstract

This paper is based on the intertextuality between diary literature. In Chapter 2, the characteristics of the parody of repetition and transformation that appeared in the diary literature of Heianjo and Joseonjo were examined. In Chapter 3, I tried to identify a characteristic of diary literature by tracking the process of parody changes in the works of Kageronikki and Hanjungrok. The description of accepting adopted daughters at Part 3 of “Kageronikki” is certainly unnecessary. Nevertheless, the novel nature of Part 3 can be said to have been deliberately inserted by the author without writing this work as a record of experience. This would have been a strategy to attract interest and attention not only from the adopted daughter but also from expected readers by inserting a narrative that accepts the adopted daughter as a reading. Needless to say, the significance of the literary history of Kageronikki is the achievement of self-help literature, but it can be inferred that it was a form following the trend of autobiographical works, a new trend at the time. Tosanikki proved this, and the author wrote a diary of his experience and situation, and showed readers at the time that texts composed like Monogatari could exist as interesting reading materials comparable to the old Monogatari. The author, who recalls ImoHwabyeon in Hanjungrok, specifically records the situation of the tragedy that was not described in Part 1. However, rather than logically describing the core of the event, the author introduces a dialogue of third parties to make himself appear as a tragic heroine. Hanjungrok’s Part 4 is more of an autobiographical novel written with awareness of the reader than an essay, because the intention of a consistent author who is conscious of the reader is behind the realistic record. Hanjungrok is a work that attempts to show readers the presence of interesting reading materials comparable to old novels, and this is due to an addictive parody. We have no choice but to accept it as another charm of Hanjungrok, a work that was predicted to be ‘a beautiful thing (美事)’. The productive parody of writing consciousness and self-reflection at the preface and end of Hanjungrok and Kageronikki can be said to have served as a true parody by presenting new diary literature. The true parody of the two writers was to awaken the reality of the time and their lives through criticism of the male Chinese diary and old novels. However, if the author does not raise the momentary desire gained through the parody to creative power, and if he pursues a stronger parody, the diary literature will become an addicted parody and turn into an illusion. The description of welcoming the adopted daughter in Part 3 and the description of imohwabyeon in Part 4 are parody addiction, parody that came after pursuing ‘uniqueness (めづらしきさま)’ and ‘a beautiful thing (美事)’. The limitations of diary literature are caused by the excessive obsession and desire brought about by repetition compulsion (Wiederholungszwang) in life.