《娜仁格日勒仙女传》和《琵琶记》的比较研究

서지정보

· 발행기관 : 한국몽골학회
· 수록지 정보 : 몽골학 / 22호 / 123 ~ 145페이지
· 저자명 : 진강룡

초록

In this article I would discuss about the relation between Mongolian Short story Narangerel dagini‐yin tuguji (Story of Fairy Maiden Narangerel) and Chinese traditional opera Pi‐pa‐ji (Lute’s Story), as well as the contribution to Chinese literature which was done by Narangerel dagini‐yin tuguji. Before this Ts.Damdinsurung and Walter Heissig had mentioned about the relation between these two works, but unfortunately they all couldn’t read the Chinese edition of Pi‐pa‐ji, so that failed to do cross‐language comparative study. Here I read the original Chinese text of Pi‐pa‐ji, and compare with Mongolian Narangerel dagini‐yin tuguji, try to solve the problem on prototype of Narangerel dagini‐yin tuguji.
1. The origin of Narangerel dagini‐yin tuguji and Pi‐pa‐ji is concerned.
There are so many common characteristics including personage type, story lines and narrate structure in above‐mentioned two works.
The identical types of dramatis personae in Narangerel dagini‐yin tuguji and Pi‐pa‐ji indicate the similarity or identical point between the two works. The Narangerel in the Mongolian story is corresponding to Zhao Wuniang in Pi‐pa‐ji, Ünen i Öglegchi is corresponding to Cai Bojie, and Liuge Noyan (chief Liu) to Niu Chengxiang (Prime minister Niu), Tonuljin Gowa to Niu Shi, Zhao övgön (the old man Zhao) to Zhang Gong, letter deliver person in Narangerel dagini‐yin tuguji to the maid in Pi‐pa‐ji, ect. Their roles in story, personage characters and characteristics are all parallelism to each other.
In Narangerel dagini‐yin tuguji, it says when the imperial government invites men of wisdom and valor to the court, Ünen i Öglegchi’s mother and wife insist Ünen i Öglegchi to have a test, but Ünen i Öglegchi himself was so worried about his family that couldn’t decide to go. At the very time, their neighbour the old man Zhao kindly gives them one hand to look after Ünen i Öglegchi’s family after his leaving. Pi‐pa‐ji tells the similar story that Zhang Gong persuades gifted scholar to attend the exam and promises to take care of his family. And there are other circumstances described in both of the two stories in common, for instance due to poor finance condition, the leading character couldn’t afford to buy meat but to let mother‐in‐law eat her own meat from her own body; the two worthy persons meet at Peking city; the female dramatis personae is murdered and finally rescued, and so on.
Narangerel dagini‐yin tuguji begins with the marriage of Narangerel and Ünen i Ögulegchi, and then tells about two persons’ departure and their different fortune and stories. In Pi‐pa‐ji also the same, there are two lines to outspread the scenario, the one is Cai Bojie ‘s encounters after his leaving home and the another is Zhao Wuniang’s life at home，and these two threads crossover one another, makes the story more tragic and shows the personage characters more clear.
2. There are some signs of translation in Narangerel dagini‐yin tuguji.
In Mongolian story Narangerel dagini‐yin tuguji, as Narangerel starts for Peking, her neighbor the old man Zhao tells her: “bars‐un chisu‐yi juguraju bolomoi，bars‐un yasun anu jugurahuy‐a berkhe gele.Khümün‐ü chirai‐yi taniju bolomoi.Khümün‐ü sedgil‐i ukhakhuy‐a berkhe gele.” This segment occurs in Pi‐pa‐ji that “他道是若有寸进，即便回来。如今年荒亲死，一竟不回。你知他心腹事如何？正是画虎画皮难画骨，知人知面不知心。” In fact it should be “bars‐un arasu‐yi juruju bolomoi，bars‐un yasun anu juruhuy‐a berkhe gele.Khümün‐ü chirai‐yi taniju bolomoi.Khümün‐ü sedgel‐i ukhakhuy‐a berkhe gele.”in Mongolian text, then would be exactly corresponding to original Chinese text. Here the “jugurakhu”is for“jurukhu”, when made copies by writing “jurukhu”(paint, draw)turned into “jugurakhu”―means “mix round, beat up”, so in the connection with its meaning “虎皮”(skin of tiger) came to “虎血”(blood of tiger) that is reasonable in logic. From this parallelism we can come to realize that Narangerel dagini‐yin tuguji is the translation based on Chinese text.
3. Narangerel dagini‐yin tuguji is combination of southern drama and northern epic.
However, Narangerel dagini‐yin tuguji is not the word for word translation of Pi‐pa‐ji, but Mongolians did great changes on it and recomposed the story. And we can the recomposition is exactly the special value of Mongolian Narangerel dagini‐yin tuguji. On the one hand, the antitype of Narangerel dagini‐yin tuguji is origin from Pi‐pa‐ji, and on the another hand Narangerel dagini‐yin tuguji expands the motif of Pi‐pa‐ji, especially the visualization of dramatis personae Narangerel incarnates aesthetic intention of Mongolians, makes the motif of southern drama and the style of northern epic together.
At the same time, from the content in Narangerel dagini‐yin tuguji, we can make out that this production is not only according as Chinese literature, but also bring into some Buddhist story‐telling tradition, incarnates multi‐cultural character.

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