따밀 전통 시학 띠나이 이론에 따른『씰랍빠디가람』 읽기
Reading Cilappatikāram on the Basis of Tiṉai Theory of Tamil Traditional Poetics
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본 논문은 『똘깝삐얌』의 「뽀룰라디가람」에 규정된 띠나이 이론을 토대로 따밀문학 최초의 서사시인 『씰랍빠디가람』을 분석하는 것이다. 고대 따밀인들은 사람들이 거주할 수 있는 땅이 다섯 개의 자연 지역으로 나뉜다고 인식했으며, 이를 띠나이라고 불렀다. 띠나이는 지형적 공간이자 문학적 상황을 포괄하는 개념으로, 띠나이 이론은 따밀 전통 시학의 토대를 이룬다. 따밀문학의 시작인 상감 시는 주제에 따라 아함 시와 뿌람 시의 두 범주로 나눌 수 있는데, 각각 사랑과 전쟁을 주요 주제로 하며, 서로 다른 띠나이로 구성된다. 『씰랍빠디가람』의 작가인 일랑고 아디갈은 따밀 전통 시학의 관습을 따르며 각 띠나이에 해당하는 무다르뽀룰, 까룹뽀룰, 우립뽀룰을 작품 곳곳에 적절히 배치함으로써 시인으로서의 기량을 뽐냈다. 첫 번째 권인 「뿌하륵깐담」은 깐나기, 꼬발란, 마다비의 관계를 통해 사랑의 다양한 양상을 보여준다. 일랑고는 이들의 사랑 이야기에 아함 시의 주요 다섯 띠나이 중 꾸린지를 제외한 네 가지 띠나이인 물라이, 마루담, 네이달, 빨라이를 솜씨 있게 엮어낸다. 마지막 세 번째 권인 「반직깐담」은 뿌람 시의 띠나이를 사용하여 쎈굿뚜반의 북부 원정을 그린다. 전쟁의 준비부터 승리에 이르기까지의 과정에 베뜨찌를 제외한 반지, 울리나이, 뚬바이, 와하이, 깐지, 빠단이 차례대로 적용된다. 띠나이의 개념은 오늘날 문학을 넘어 미술·영화·음악 등 따밀 문화예술 전반에서 꾸준히 발견된다. 『씰랍빠디가람』에 사용된 띠나이는 이 작품이 따밀 고유의 민족적 특성을 담고 있는 남인도 문화 원형임을 분명하게 보여준다.
Abstract
This paper aims to examine the earliest Tamil epic Cilappatikāram on the basis of tiṉai theory prescribed in Poruḷatikāram of Tolkāppiyam. The ancient Tamils recognized that the land where people could inhabit in was divided into five physiographic regions – tiṉai. Tiṉai is a concept that encompasses both a topographical space and a literary situations. The theory of tiṉai forms the basis of Tamil traditional poetics. Caṅkam poetry, the beginning of Tamil literature, is broadly divided into two genres: akam and puṟam. Akam poetry describes the love affairs, while puṟam poetry describes the dynamic scenes of warfare. Different tiṉais apply to these two genres. Iḷaṅkō Aṭikal, the author of Cilappatikāram, followed the convention of Tamil traditional poetics, and showed his poetic skills by properly placing mutaṟporuḷ, karupporuḷ, and uripporuḷ which correspond to each tiṉai. Pukārkkāṇṭam, the first book of Cilappatikāram, depicts various aspects of love based on the relationship between Kaṇṇaki, Kōvalaṉ, Mātavi. Iḷaṅkō skillfully weaves mullai, marutam, neytal, pālai, except for kuṟiñci among five major akattiṉais. Vañcikkāṇṭam, the third and last book, depicts the northern expedition of Ceṅkuṭṭuvaṉ using puṟattiṉais. From preparation for the war to victory, vañci, uḻiñai, tumpai, vākai, kañci and pāṭāṇ are applied one after another excluding veṭci. Today, in addition to Tamil literature, the concept of tiṉai is steadily found in entire Tamil culture and arts, such as fine fine art, film, and music. Tiṉais used in Cilappatikāram shows that this work is a cultural archetype of South India that contains the indigenous characteristic of Tamils.
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