액자구조로 다시 쓴 ‘처용가’ 의미

Meanings through 「Cheoyongga」 on The Frame-structure: To center a study on works by Shin Sangsung, Kim Sojin, Gu Kwangbon

There is <Cheoyongga> which is composed by Cheoyong in King Heonkang 49th of the Sinra Dynasty. This is mentioned on the article of Cheoyongrang in 『Samgukusa』. Cheoyong who is son of a dragon get followed King Heonkang to come Seoul. He is obtain a government position, One day, he does sing the song against Yeoksin who is raped Cheoyong s wife then to get leaved himself at last. This paper is intended to study meanings through 「Cheoyongga」 on the Frame-structure to center above contents on works which are re-written Cheoyong Myth by Shin, Sangsung, Kim, Sojin, Gu, Kwangbon. Firstly, there is a important motive from a work by Shin, Sangsung who wrote 「Laughter of Cheoyong」. He has interpreted laughter into renunciation and tolerance in the work through rewriting Cheoyong Myth. Specially, he has expressed a insertion form that is performed on psycho-drama with ‘laughter of Cheoyong with the frame-structure in his. Secondly, Kim, Sojin has juxtaposed two minds whose Cheoyong in King Heonkang and Cheoyong in present to use the frame-structure in his work 「A Fragment of Cheoyong」. Thirdly, Gu, Kwangbon has juxtaposed the frame-structure as a novel into the novel 「Where Do We See Cheoyong Again」 which is showed Cheoyong to the Messiah as the salvation of the end In conclusion, it seems that those have been expressed three writers to highlight effect of the works to juxtapose double frame for organic function complexly through imagination of writers.