바르뗀두의 희곡 연구 (A Study on the Plays of Bhāratendu)

서지정보

· 발행기관 : 한국외국어대학교 인도연구소
· 수록지 정보 : 남아시아연구 / 16권 / 3호 / 51 ~ 76페이지
· 저자명 : 김우조

초록

근대 힌디문학의 토대를 확립한 바르뗀두의 가장 큰 공헌은 봉건시대의 귀족문학에서 대중의 삶과 분리되어 있던 문학을 새로운 시대의 요구에 따라 대중의 삶과 연결시켰다는 점이다. 그는 새로운 시대의 현실 문제들을 다루기 원했다. 이를 위해 산문의 여러 장르를 발전시켰으며 대중의 언어인 카리 볼리 힌디어를 새로운 문학 언어로 채택했다. 바르뗀두 자신은 산문의 여러 장르 중에서 희곡에 집중했고, 근대힌디문학은 바르뗀두의 희곡과 더불어 시작되었다.
그러나 바르뗀두의 희곡작품은 서구의 근대산문희곡과 다르다. 그의 희곡에는 운문이 중요한 비중을 차지하고, 그 운문에는 주로 중세 봉건시대의 문학어인 브라즈바샤가 사용되었다. 바르뗀두시대라고 불리는 근대힌디문학 제 1기를 대표하는 근대성의 상징들을 새로운 의식을 표현한 현실 문제, 산문의 장르 그리고 카리 볼리 힌디어라고 볼 때 그의 희곡의 근대성에는 봉건성이 내재되어 있다. 이에 대한 이해는 근대힌디문학의 새로운 장르로서 바르뗀두의 희곡을 자리매김하고, 더 나아가 근대힌디문학의 제 1기의 성격을 구체적으로 규명하는 데에 필수적이라고 하겠다. 따라서 이 글에서는 그의 희곡에서 근대적인 요소와 함께 중세의 봉건적인 요소에도 주목하면서 그의 대표적인 희곡작품의 주제, 기법 그리고 언어를 분석하고자 한다.

영어초록

One of the most important contributions of Bhāratendu, the founder of modern Hindi literature is the elimination of the gap between the literature and the life of the people in the aristocratic literature of the feudal age according to the need of the new era. He adopted prose genres and ‘Kharī Bolī Hindi’, a language of the people as the new literary language to deal with the issues related to the life of the people aroused in the new era. The fervor for new consciousness in the new era, the prose genres and Kharī Bolī Hindi can be termed as symbols of modernity in the early beginnings of modern Hindi literature.
Drama was Bhāratendu’s preferred genre in prose. The reasons for this selection is contemporary compulsion. He was conscious of the importance of dramatic exposition for direct communication with the people as it required to be staged and needed immediate reactions from its audience. Same way, he recognized the possibilities of Kharī Bolī Hindi as the tool of modern communication between literature and the people at large.
The works of Bhāratendu are mostly related to the issues of society and politics. His attitude towards society and religion, he adopts satirical and realistic approach and towards woman is modern and liberal. However, there is no denying the fact that he could not free himself totally from the feudal influences of the medieval age which can be traced in the ideological basis of his social reformation based on ‘Bhaktism’ of Vallabha community.
At the same time, he revealed sharper eyes to recognize the nature of the British rule in India more then anybody else when he pinpointed that British imperialism in India was to exploit Indian people economically. It goes beyond the comprehension of the social-political leadership of the country of his times. There was the background of resistant spirit of the people of Hindi speaking area exploded in ‘Sepoy Revolt’ which continued to consider British as economic plunderers.
Bhāratendu experimented with and established the new suitable form of modern Hindi plays. The most notable technique in his plays, in my opinion, is the massive use of verses and songs, for which he choose Brajbhāṣā the literary language of the middle ages instead of Kharī Bolī Hindi.
It is true that the plays of Bhāratendu are no match to western modern prose playwriting. But simply by using verses and songs in his plays he can not be termed as medieval or pre-modern. These instruments were used primarily for a better communication with the people. Nevertheless, keeping in mind the factor of beginnings of modern Hindi literature and the task of depicting the life realistically, the technique of the massive use of verses and songs and the use of Brajbhāṣā, the language of Kriṣṇa Bhakti literature and the aristocratic literature of the medieval time, are not suitable.
Thus, though Bhāratendu had chosen play as the representative prose genre to express modernity, modernity and feudality are co-existed in the themes, techniques, and languages in his plays. And it can be considered as the reflection of the contradictions which his era was unable to resolve.

참고자료

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