<三藏><蛇龍>의 생성 맥락과 함의
On the Creating Contexts and Meaning of Samjang(三藏) & Saryong(蛇龍)
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이 글은 <삼장>․<사룡>을 주 대상으로 고려가요에 대한 연구 방법뿐 아니라 접근 시각에서 새로운 방향을 제시해 보고자 하였다. 우선 역사주의와 지식사회학적인 방법을 적용하여 종국에는 텍스트를 해석하는 데까지 도달하는 과정을 보여줌으로써 두 작품의 의미는 물론 의의까지 새롭게 규명할 수 있는 길을 제시하였다. <삼장>․<사룡>은 물론 <쌍연곡>․<태평곡> 등 충렬왕대에 생성된 가악 레퍼토리들이 한결같이 문화사적인 관점에서만이 아니라 통치사적인 관점에서 바라볼 때 그 의미와 의미를 올바르게 파악할 수 있다는 점, 가악 레퍼토리를 공연한 ‘남장악대’가 사족 집단의 현실 인식과 이해 관계를 대변하도록 기획되었다는 점을 밝혔다. 그리고 <삼장>․<사룡>의 수용 문제가 단순히 문화적 취향의 문제로 환원될 성질이 아니라 사상사적 측면에서 바라보아야 하는 문제임을 밝혔다. 이러한 논의는 <삼장>․<사룡>에 대한 이해를 심화시키고, 나아가 고려가요 전반에 대한 새로운 접근 방법을 마련해 가는 데 적잖이 기여할 수 있을 것이다.
Abstract
Two Korean songs, Samjang(called Ssanghwajeom) and Saryong have created about 1299 by Jam, Oh, Won-sang, Kim, and some of the same class who had firming their political ground in the time of the king Chung-ryeol's resign time. The years is historic because the king Chung-ryeol took crown from his son, which had been forcibly deprived of the Empire Won about ten months ago. The king Chung-ryeol and his close staff members had dreamt a new world cosmos in which the king become an empire, and had made some new repertories of music which symbolize it. So they could not do this without anxiety about their ground. Thus two new repertory not contained only their longing for new world cosmos which unified new risen class members but contained also their anxiety about future. The narrator of Saryong is a man of new risen class, so his voice represents the consciousness of the his class. And, though the voices of Samjang is female, it represents the same consciousness. Additionary, the narrators of Samjang are anxiety. Drawing this conclusion, I invested investigate two other repertories of music, Taepyeong-gok and Ssangyeon-gok. The latter was created by new host of Seogyeong, In-gyu, Cho's family and represented that the region ruled by Seogyeong was within Goryeo Dynasty's world cosmos. The former was created by two members of new risen class, Won-sang, Kim and Yun-jae, Pak, who had the same dream of the king Chung-yeol's. Samjang and Saryong were designed to be harmony with the new style music Taepyeong-gok. Through this study, I have a clear grasp of the essence of the songs or repertories of music in the king Chungryeol's reign time; they have close relation with reestablishing the old world cosmos of a country and with establishing a new world cosmos of it.