<구운기(九雲記)>는 김만중의 <구운몽(九雲夢)>을 개작한 한문 장편소설이다. 그동안 <구운기>의 국적문제로 인해 작품 연구가 적극적이지 못하였다. 유려한 백화체로 쓰여 있고 <홍루몽(紅樓夢)>과 <경화연(鏡花緣)>을 상당 분량 차용하고 있으며, 무엇보다 중국인이 <구운몽>을 개작하여 <구운루(九雲樓)>라는 작품을 남겼다는 기록이 존재하여, <구운기>가 한국작품이라는 점을 회의하게 한다. 그러나 그러한 이유로 작품의 내재적 접근까지 멈춰서는 안 될 것이다. <구운기>의 개작에서 주목할 것은 진채봉ㆍ계섬월ㆍ적경홍이다. 전작에서는 양소유의 낭만적 연인이었던 그녀들이 <구운기>에서는 규중의 규범을 구현하는 인물로 변화한다. 그들은 화론(花論)의 논리에 따라 가장무석(歌場舞席)에 태어나고 정연(情緣)의 논리에 따라 얼연(孼緣)에 빠지기 쉬운 기생과 궁녀가 된다. <구운기>의 작가는 진채봉 등을 규범으로 재무장한 인물로 변화시킴으로써 가문 구성원의 자질을 강조하였다. 양부(楊府)는 공주궁으로 불리며 여인들의 공간으로 이미지화되는데 이는 여성을 위한 공간이라기보다 여성의 역할에 더 많은 의무를 부여하는 공간이라는 성격을 띤다. 그 안에서 8부인은 연대적 관계를 형성한다. 그들의 연대는 유부인의 생일연으로 구체화되고, 상하 모든 신분의 여인들이 합심하여 이루어낸 잔치는 가문의 안정과 번영의 상징이 된다. 지음(知音)이나 자매애로 표현되는 그들의 연대는 여성들의 평등한 관계를 지향하는 연대가 아니라 가문을 위한 연대이다. 그녀들이 일상에서 보여주는 수준 높은 교양과 문화도 가문의 구성원으로 갖추어야 하는 자질이며 가문을 위한 연대의 또 다른 방식이다. 8부인의 교양은 처첩의 분위를 지키는 부덕과 공동으로 향유할 수 있는 수준의 문예능력으로 구체화된다. 이것도 가문의 번영을 상징하는 표지로 기능한다. <구운기>의 개작 의도는 <구운몽>이 지닌 삶의 에너지를 가부장 체제 강화에 활용하는 데 있다. <경화연>과 <서유기>에 등장하는 서왕모의 요지연을 가문번영의 상징으로 활용하고, 도가의 선녀인 위부인의 위상을 육관대사보다 높인 후 이를 다시 가부장 체제의 수호자로 변모시켰다. 특히 <경화연>과 <홍루몽>에서 차용한 화론과 정연의 논리는 이러한 의도를 공고히 하는 데 적극 기여하고 있다. 19세기 소설 개작에 있어 <구운기>는 규범소설 <창선감의록>이 여성중심의 세정소설로 개작된 <화씨충효록>과 대칭적 위치에 선다.

<Guungi> is a 19th-century novel and an adaptation of <Guunmong>, written by Seopo, Kim Man Jung in the 17th century. It is not sure where this novel was born. It is caused by being written in modern Chinese conversational style, Baek-Hwa-che, by borrowing <Hongrumong>, <Gyeonghwayeon> and also because there is another adaption, <Guunru>, dramatized by a Chinese person. Nevertheless, we must not stop our in-depth study. Focused on its female character, this study is on the adaption of <Guungi>. Ginchaebong, Gyeseomwol and Jeokkyunghong were originally in court ladies. A remarkable thing about eight fairies' figure is that they changed from wit and beauty into noblewomen. It is related to the theory of flower and the connection of man and woman through Beakhwaseongo's prediction about their birth and match. By their causationism of merits and demerits, reward and punishment, even though they were born as singing and dancing people with an ominous connection, they, especially Jinchaebong overcame their misfortune and conjoined with Yangsoyou truly in <Guungi>. It puts more weight their future, becoming a member of Yang's palace rather than their romance. Eight fairies live in Yang's palace where there is Yang's mother at the center of them. They accept the order of rank and live together in perfect harmony. The power of the harmony was shaped up in the birthday banquet of Yang's mother. This festival is the combined works of every state woman, and symbolizes the stabilization and prosperity of the family. Eight fairies' life discloses their desire for heightened cultured life. Their intellectual standard -the lack of discretion and in the enjoyment of literature- shows that every member of the family including the head of household and their literary tastes expose the family's real status. This has a relation to <Guungi>'s borrowing <Gyeonghwayeon> about ‘life and education of woman' especially, 'gender equality education' and <Hongrumong> trying to give a description of an interest in woman. But exclusion and violence are embedded in the external harmonious appearance of eight fairies. Those means inherent discrimination by causationism, a situation that the marginalization, that is gisaeng and other existence, castrate their identity. Therefore, we should not overlook the fact noblewomen's cultivated life in the work can be a world established discriminative value order.

<Guungi> is a 19th-century novel and an adaptation of <Guunmong>, written by Seopo, Kim Man Jung in the 17th century. It is not sure where this novel was born. It is caused by being written in modern Chinese conversational style, Baek-Hwa-che, by borrowing <Hongrumong>, <Gyeonghwayeon> and also because there is another adaption, <Guunru>, dramatized by a Chinese person. Nevertheless, we must not stop our in-depth study. Focused on its female character, this study is on the adaption of <Guungi>. Ginchaebong, Gyeseomwol and Jeokkyunghong were originally in court ladies. A remarkable thing about eight fairies' figure is that they changed from wit and beauty into noblewomen. It is related to the theory of flower and the connection of man and woman through Beakhwaseongo's prediction about their birth and match. By their causationism of merits and demerits, reward and punishment, even though they were born as singing and dancing people with an ominous connection, they, especially Jinchaebong overcame their misfortune and conjoined with Yangsoyou truly in <Guungi>. It puts more weight their future, becoming a member of Yang's palace rather than their romance. Eight fairies live in Yang's palace where there is Yang's mother at the center of them. They accept the order of rank and live together in perfect harmony. The power of the harmony was shaped up in the birthday banquet of Yang's mother. This festival is the combined works of every state woman, and symbolizes the stabilization and prosperity of the family. Eight fairies' life discloses their desire for heightened cultured life. Their intellectual standard -the lack of discretion and in the enjoyment of literature- shows that every member of the family including the head of household and their literary tastes expose the family's real status. This has a relation to <Guungi>'s borrowing <Gyeonghwayeon> about ‘life and education of woman' especially, 'gender equality education' and <Hongrumong> trying to give a description of an interest in woman. But exclusion and violence are embedded in the external harmonious appearance of eight fairies. Those means inherent discrimination by causationism, a situation that the marginalization, that is gisaeng and other existence, castrate their identity. Therefore, we should not overlook the fact noblewomen's cultivated life in the work can be a world established discriminative value order.

<Guungi>, <Guunmong>, <Gyeonghwayeon>, the theory of flower and the connection of man and woman, <Whassichunghyorok>