조선시대 대하소설과 淸代의 탄사소설의 비교를 통해 본 여성ㆍ문자ㆍ소설의 상관관계

Comparative study on women, letter and fiction by Comparison roman-fleuve of Chosun dynasty with tanci-novel(彈詞小說) of Qing dynasty

본고는 조선조 대하소설과 중국 청대 탄사소설의 비교를 통해 여성들이 즐겨 읽었던 이들 서사문학의 공통점을 문자의 측면에서 해명하고자 하였다. 먼저 조선시대 대하소설 중 몇 작품을 청대 탄사소설 <재생연>과 비교하여, 서술방식이 유사하다는 점을 밝혔다. 그리고 서술방식의 유사성은 조선시대 대하소설과 탄사소설의 창작에 사용된 문자가 모두 구어에 가깝다는 점과 밀접한 관련이 있다고 보았다. 한글로 창작된 대하소설은 한문에 비해서 일상어와 가까운 언어를 사용하고 있으며, 중국의 탄사소설도 지방의 방언이 반영되어 있다는 점에서 文言이나 白話에 비해 상대적으로 구어에 가깝다. 이 때문에 대하소설과 탄사소설은 古典을 중시하는 기록문학의 규범에서 비교적 자유로울 수 있었다고 보았다. 본고는 조선시대 대하소설과 청대 탄사소설의 주향유층이 모두 여성이었던 원인을 여기에서 찾았다. 즉 높은 수준의 문자교육을 받지 못했던 상층 여성들이 구술적 전통에 가까우면서도 하층과는 차별화된 기록문학인 대하소설과 탄사소설을 발전시킨 것이다.

In Chosun korea, a small number of people could read or write. And There are two kind of reading and writing. The Literati who was from high class and almost man, wrote in classical chinese. But the commoner by birth and women from high class wrote in Hangul, korea's own letter. This study is on the very women from high class who learned only Hangul and were not allowed to learn classical chinese. The noble women enjoyed reading long fiction written in hangul. The fiction's form and style is discern from short fiction written in hangul or the fiction in classical chinese. Long fiction written in hangul is like roman-fleuve. It has diffuse style and narrate the details that is not connected with polt. At the same time, It narrate characters' delicate feeling in free indirect discourse. Also literate man read the Korean classical roman-fleuve but they preferred the fiction in classical chinese, because it was elaborate in style and quoted chinese classics. The distinctive feature of roman-fleuve in hangul is similar to literary tanci of late imperial china. Tanci is narrative verse and its reader(or audience) was mostly women from high class. It is very long and written in diffuse style. In style and story, tanci discern from classical or vernacular fiction. From Song dynasty, in china there was two kind of writing, classical and vernacular. Fiction in vernacular reflect the spoken language, but until late imperial china the vernacular was not more 'vernacular', so its relation to spoken language was very weak. In late imperial china, the authors of vernacular fiction were man and literati. And people who were not educated for long time could not read the vernacular fiction, because chinese letter is ideogram and all the more it did not reflect the spoken language of that time. Vernacular fiction is in elaborate style and quare many classics. Tanci novel was also written in chinese letter, but it reflect spoken language, so many women enjoyed it not by reading but by listening. The similarity between roman-fleuve in hangul and tanci novel of china implies the relation between fiction and language. Hangul which women used is phonogram and coincide with korean language, but on the other hand chinese letter which the literati used is ideogram and is not coincide with korean language. So the feature of roman-fleuve in hangul is more due to the language less than author's or reader's sex. Of cause, roman-fleuve in hangul reflects women's interest, but it is not decided from the birth, but from the education that trained women. Restriction to higher literacy made women develop literature in Hangul.