미야케(宮家)의 여성 묘사를 통해 본 헤이안조 문학의 서사구조 - 역사적 컨텍스트의 수용과 변용 - (A Study on the Narrative Structure of the Literature in the Heian Period Based on the Depiction of the Women of Noble Families - Acceptance and Transformation of Historical Contexts -)

서지정보

· 발행기관 : 일본어문학회
· 수록지 정보 : 일본어문학 / 101호 / 309 ~ 330페이지
· 저자명 : 윤승민

초록

本稿は二世女王に関する歴史的な事実が虚構の物語にいかに受容、あるいは変容されているかを分析したものである。古代には天皇の孫にあたる二世女王は天皇の娘である内親王とそれほど区別なく待遇され、また斎宮や斎王などの活動を通して国家に奉仕してきたが、延暦12年の詔により、女王と臣下との婚姻が許されてからその地位に大きな変化が生じた。特に今まで皇室を支える神聖な存在として生きてきた二世女王の場合、一部は藤原氏に妻として迎えられ、華やかな生活を送ることができたが、より多くの宮家の女君は過酷な運命と出会うはめになる。高い出自の持主ではあるが、後見役の親王である父が亡くなり、そのうえ、母親まで世を去った場合、臣下の娘よりも哀れむべきところまで身を堕としかねない者も多く現れたのである。無論、史料ではこうした記録はほとんど見られないが、当時を生きていた紫式部は宮家の女君が処した過酷な現実を充分把握していたはずであり、それが反映された結果が『源氏物語』のなかにみられる宮家の女君の様子であると思われる。零落し、窮迫な運命に処せられながらも、王統の血への誇りと家の名誉を守り貫くため、必死で努力する女君の姿を至る所でみることができるが、これこそ紫式部が時には厳しい視線で彼女らに辛辣な批評を加えながらも、それを繰り返し描くことで、彼女たちの人生を理解しようとしたからであると思われる。

영어초록

In this paper, I analyse how historical facts relating to the second princess have been received and transformed into fictional narratives. In ancient times, the second princess, a granddaughter of the emperor, was treated similarly to a daughter of the emperor. They contributed to their country by serving as ‘Saigu’ or ‘Saio’, but the decree of Enryaku 12th year caused a significant change in their status. In particular, in the case of the second princesses who had been treated as a sacred figure supporting the imperial family, some of them became the wife of the Fujiwara clan and led a glamorous life. Most of them, however, faced harsh destinies. Even if a princess held a high position, if her parents (where the father was her guardian) pass away, she might have fell into a pitiable state, a position worse that that of the daughters of their subordinates. Such records are hardly found in historical materials, but it is highly likely that Murasaki Shikibu, who lived during that time, fully understood the harsh realities of these noble but pitiful women, and her recognition of these women was reflected in her depiction of women of noble families in The Table of Genji. In spite of their decline and desperate destinies, they made every effort to maintain the pride of their royal lineage and the honour of their family. Their struggle is what Murasaki Shikibu repeatedly portrayed even though she made caustic remarks on them. Her repeated mentions of them seem to be based on her desire to understand their life.

참고자료

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