〈임경업전(林慶業傳)〉과 〈국성야합전(國性爺合戰)〉 비교 연구

It has been said that the `modern` historical novel began in the early nineteenth century, with a major shift in the awareness of history itself and with a single author, Sir Walter Scott in the West Europe. in the 1930s, especially, Lukacs empathized that we must see the past as the prehistory of the present and ultimately must understand both past and present as parts of a teleological process on the ground of the perspective of social realistic literature. But what is debilitating in Lukacs`s approach is that he appears to have no way of focusing other, perhaps less important, but hardly negligible, skills and aims historical fictions have set themselves. Therefore, nowadays the boundaries between fiction and fact in the historical narrative literature have eroded in favour of a larger textuality and a heightened awareness of the rhetorical nature of language and thought. In addition, we need to re-establish a belief in literary representation, to rebuild the bridge between narrative fictions and the historical world. One of such rebuilding is to focus on specific characters of historical narrative works such as fantastic and romantic descriptive skills, and ideological theme of nationalism or patriotism common in the East and the West, which have been used often. The exacdt representatives are as followings; Korean anonymous historical novel Im gyung-up Jeon(林慶業傳) and Japanese historical puppet play(淨瑠璃) Kokusenya kassen(國性爺合戰, 1715) of Chikamatsu(近松, 1653-1725), which were written in 17-8 century. They belong commonly to a historical heroic-narrative literature. Both works are employing historical materials-historical heroes and events. The main character of Im gyung-up Jeon, Im gyung-up(林慶業, 1594-1646), was a great general who did great activity in a war Byongja Horan(丙子胡亂), but was killed under a false accusation by falling into a trap of a traitor. kokusenya(國性爺, 1624-1662), the hero of Kokusenya Kassen, was also a general who went over to China from Japan and fought against Tartary in order to protect the Ming(明) dynasty. Most of all, both works have two kinds of narrative conflicts-foreign and domestic relations, and show us the way of hero`s, not heroine`s, solving those conflicts and the philosophy of encouraging the good and punishing the evil. They show us national identity that cultural side-countries achieve the main role instead of a cultural center-country in solving the antagonism of one nation to another, and ideology that loyalty defeats disloyalty ultimately in conflict between a royal retainer and a treacherous retainer. Though both works have several similarities, they also have some differences, for example, in a style of writing history or in a way of closing stories. Because Im gyung-up Jeon was written in the historical modes based on reality, historical hero`s whole life and his death were described realistically like a history, even though sometimes fantastic description was used, which was from chinese history writing style. The victory of Chosun in fighting with savage countries means that cultural side-country -Chosun- was laid on equal position with China, which was cultural main-country. It means also that contemporary people had strongly consciousness of one`s own country and national identity in 17-8 century. On the contrary, the history play Kokusenya kassen, Chikamatsu`s most successful work, was created fictitiously with various imagination which was derived from historical romances and other narratives. A narrator recited not only lines for the mute puppets but also connected descriptions. And a certain exaggeration was necessary to impart the sentiments of living people to wooden creatures. For example, the fourth act of Kokusenya kassen affords series of fantastic scenes which use the resources of the puppets. There are distant battles seen in visions; characters who age seven years before one`s eyes; and a rainbow bridge which mysteriously spans