조선후기 한글소설 <황부인전>의 재창작 양상 소고 - <삼국연의(三國演義)> 및 중국서사전통과의 비교를 중심으로

Abstract

Hwangbuinjeon(황부인전), a Korean classical Hangul novel by an unknown author in late Joseon dynasty, is a story which was newly composed from The Romance of Three Kingdoms(三國演義, 삼국연의), Chinese classical novel. Hwangbuin(황부인), Zhuge Liang(諸葛亮, 제갈량)’s wife, was made as the main character in this new text. Hwangbuinjeon was produced on the back of the inflow and spread of The Romance of Three Kingdoms in Joseon. As focusing on this fact, this study discusses the re-creation aspects of Hwangbuinjeon by prospective of comparative literature in relation to the original text, Hwangbuin figure handed down among Chinese people and Chinese narrative tradition. Hwangbuin figure was only stated fragmentarily in The Romance of Three Kingdoms, but she was embodied concretely and vividly through the ‘rewriting’ process in Hwangbuinjeon. This study investigated the formation process of Hwangbuinjeon in connection with inflow of The Romance of Three Kingdoms, production and spread of translated version of it, and public novel culture in late Joseon. This study also examined content characteristics of Hwangbuinjeon in relation to Bakssijeon(박씨전), a Korean classical novel which consisted of the similar story composition, and in comparison with Chinese narrative tradition. It was pointed out that these two Korean classical novels included traditional story about ‘stupid husband and wise wife’ and motif of ‘metamorphosis into a beauty’, which each betrayed female-oriented quality, subversiveness of reality. This study also argued that the author generally satirized incompetent husbands of Joseon society by giving a ridiculous shape to Zhuge Liang in Hwangbuinjeon. Hwangbuin character drawn in Hwangbuinjeon is not a figure in Chinese narrative culture any more. She was recreated as a figure who has been naturalized in Joseon's reading culture. Ugly woman Hwangbuin was reborn as a beauty hero onto who Joseon public readers projected their desire. Zhuge Liang originally known as a model of fidelity and an incarnation of wisdom, was described as an incompetent husband character benefited from wife’s talent in Hwangbuinjeon. This change had occurred in the process that Joseon readers had not read Chinese novels just as they were, but had made them changed into domestic literatures appropriately. Although this study was conducted roughly, I hope it would help us gain a better mutual understanding of some aspects in Korean-Chinese classical novel and narrative tradition.