『西廂記諸宮調』와 『西廂記』의 서술방식 및 서사기교 비교 (Comparison of the description manner and the narration style of Xixiangji Zhugongdiao西廂記諸宮調 and Xixiangji西廂記)

서지정보

· 발행기관 : 한국중어중문학회
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· 저자명 : 윤지양

초록

This paper compared the two literary work dealing with the same story in different ways, XixiangjiZhugongdiao and Xixiangji. Most of the studies concerned focused on the differences in characters, change of the story, or the rhetoric. But these studies have rarely payed attention to the intrinsic difference between Zhugongjiao and Zhaju. The different features of the two genre brought the different description manners and narration styles. Here I focused on this matter.
In XixiangjiZhugongdiao the narrater appears in the front interpreting and evaluating the situation, and there are frequent lengthy marshaling. They were used to show off the storyteller’s skills and earn time to think about the next story. On the contrast, in Xixiangji there is no narrater or lengthy marshaling anymore, as is derived from the fact that it is played on the stage by the actors for themselves.
In XixiangjiZhugongdiao there is only one single eyes following the main character. As a result, the spectators can’t expect which person this main character will run against, thus around characters appear suddenly and the events happen unexpectedly, which might have been useful to buttonhold the curiosity of the spectators. But in Xixiangji, because the spectators can see all the plural characters on the stage at once, the double eyes are allowed. And the playwright tried to exclude the contingency of the events giving a hint which is to be developed later.
The development of narration style in Xixiangji might have been one of the reasons of the Zhugongdiao’s decline and popularity of Zhaju during Yuan元 dynasty.

영어초록

This paper compared the two literary work dealing with the same story in different ways, XixiangjiZhugongdiao and Xixiangji. Most of the studies concerned focused on the differences in characters, change of the story, or the rhetoric. But these studies have rarely payed attention to the intrinsic difference between Zhugongjiao and Zhaju. The different features of the two genre brought the different description manners and narration styles. Here I focused on this matter.
In XixiangjiZhugongdiao the narrater appears in the front interpreting and evaluating the situation, and there are frequent lengthy marshaling. They were used to show off the storyteller’s skills and earn time to think about the next story. On the contrast, in Xixiangji there is no narrater or lengthy marshaling anymore, as is derived from the fact that it is played on the stage by the actors for themselves.
In XixiangjiZhugongdiao there is only one single eyes following the main character. As a result, the spectators can’t expect which person this main character will run against, thus around characters appear suddenly and the events happen unexpectedly, which might have been useful to buttonhold the curiosity of the spectators. But in Xixiangji, because the spectators can see all the plural characters on the stage at once, the double eyes are allowed. And the playwright tried to exclude the contingency of the events giving a hint which is to be developed later.
The development of narration style in Xixiangji might have been one of the reasons of the Zhugongdiao’s decline and popularity of Zhaju during Yuan元 dynasty.

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