『씰랍빠디가람(Cilappatikāram)』에 나타난 여성의 자기희생적 이미지
Self-sacrificing Image of Women in Cilappatikāram
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본 논문은 따밀 문학 최초의 서사시인 『씰랍빠디가람』의 작품 분석을 통해 여주인공인 깐나기의 신격화 양상과 그 과정에서 나타나는 여성의 자기희생적 이미지를 고찰하는 것이다. 『씰랍빠디가람』의 이야기는 깐나기가 남편 꼬발란의 억울한 죽음에 강력하게 항변한 뒤 자신의 왼쪽 젖가슴을 손으로 뜯어내고, 이를 거리에 내던져 마두라이 전체를 불태우는 장면에서 절정에 이른다. 이때 깐나기에게서 터져 나온 슬픔과 분노의 강렬한 감정이나 초월적인 힘은 ‘아낭구’라는 개념으로 설명되곤 한다. 깐나기가 보여주는 자주성, 정의감, 때로는 격렬한 분노로까지 표출되는 진실 추구의 모습은 동시대 인도 문학작품의 다른 여성 인물에게서 찾아보기 힘든 독특한 요소이다. 『씰랍빠디가람』의 마지막 권에서 깐나기는 여신의 자격을 지니게 되는데, 이는 이후 남부 인도와 스리랑카를 중심으로 널리 퍼지게 된 빳띠니 숭배의 시작으로 여겨진다. 깐나기의 신격화 과정은 남편에 대한 무조건적 헌신과 정절을 전제로 한다는 점에서 지극히 자기희생적이며, 그녀가 보여준 초월적인 힘은 자기희생에 대한 보상으로도 볼 수 있다. 남인도 문화 원형의 중요한 요소로서 『씰랍빠디가람』에 나타난 깐나기의 신격화 과정에 담긴 자기희생적 이미지는 따밀 문학과 산스끄리뜨 문학 간 융합의 흔적을 보여주는 증거로 해석될 수 있다.
Abstract
This paper, through the analysis of the earliest Tamil epic Cilappatikāram, aims to examine the deification of Kaṇṇaki, the heroine of the epic, and the self-sacrificing image of women emphasized in this process of deification. The story of Cilappatikāram comes to the climax in the scene where Kaṇṇaki, after emphatically protesting her husband Kōvalaṉ’s unjust death, tore off her left breast and, throwing it down into the street, burned the whole city of Madurai. The intense emotions of sadness, anger, and the transcendental power erupted from Kaṇṇaki at this time are often explained by the concept of ‘aṇaṅku’. Her self-reliance, sense of justice, and relentless pursuit of truth which sometimes is expressed in violent anger are unique elements hard to find in other female characters of contemporary Indian literary works. In the last volume of Cilappatikāram, Kaṇṇaki is elevated to the status of a goddess. This is regarded as the beginning of the Pattiṉi cult, which became prevalent in South India and Sri Lanka afterwards. The deification process of Kaṇṇaki is extremely self-sacrificing in that it presupposes unconditional devotion and fidelity to her husband, and the transcendental power she shows can also be seen as a kind of reward for her self-sacrifice. As an important element of the cultural archetype of South India, the self-sacrificing image of women contained in the deification process of Kaṇṇaki in Cilappatikāram can be interpreted as an evidence of the convergence between Tamil and Sanskrit literary cultures.
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