earticle

영어

The interpretative viewpoint or tone is very deductive and contrived in that they interpret literary works, using the ideology with social realism or Juche idea added to social realism. There was Dusolga in the point of contact from the step of Gujiga which collective labour or ceremonies were reflected in to the step of personal creative poetry. From it, personal creative poetry centering around Chinese poems and Hyangga works formed the context of times existing with the collective songs persistent from the past era. The personal songs had been made following collapse of the primitive society and appearance of the ancient countries, Gonghuin is only one song left of them. They defined the Three Kingdoms as feudal states, regarded Goguryeo as the first feudal state, and called the literature at that time as medieval literature. They learned out the fact that poems of the age including Hwangjoga were written in Chinese characters and universality to transcend the individual state. Exploiting class and exploited class had been divided in the ancient society. The reactionary culture devoted to the ruling class and progressive culture materialized demand of the lower class were divided based on the conflict and strife between the two classes. They saw the ancient songs as an output of the reality. They learned out the ancient people’s desire of ideology orientation in the hidden side of interpretation about Gujiga, based on the collective labour, collective art, and they saw Gonghuin as a lyrical song reflected in personal emotion and feeling in the stage of slaveholders’ society. Comparing to Gujiga or Gonghuin, Hwangjoga is treated with disregard to such an extent as to refer to only song title or deal with background story and song contents. In fact, North Korea emphasized the Goguryeo history to maintain their own legitimacy, it was also an ideological means to protect and keep their ruling system. If Hwangjoga was a song for complaining to the King Yuri himself about his own loneliness and conflict with surroundings, and the King Yuri was just a monarch as well as a main character of failed love story, it could not be a figure of heroic sovereign who they admired with respect. The fact that we can’t discover any hidden structure except for emotional content or theme, based on mediocrity i.e. love and anguish not the trace of class strife, social realism, and Juche aesthetics was a limit of this song. Therefore, they could not help finishing it to the extent of equivocating or discounting the existence of this song, differently from the prior two songs. However, strictly speaking, we can’t deny that the very equivocation is an action no less ideology-biased than interpretation with class strife.

한국어

북한 문학사들의 문학작품 해석은 대단히 연역적이고 작위적이다. 상고시가 중 집단 노동이나 儀式을 반영한 <구지가>의 단계에서 개인 창작시가의 단계로 넘어가는 어름에 <두솔가>가 있고, 그로부터 한시와 향가를 중심으로 하는 개인 창작 시가들이 앞 시대에서 지속되어오던 집단 가요들과 공존하는 시대적 맥락을 형성했다. 원시사회가 무너지고 고대국가가 출현하던 시기부터 개인 서정가요들은 만들어졌고, 그 가운데 한역을 통해 기록으로 남아 있게 된 것이 <공후인>이다. 그들은 그 다음 단계인 삼국을 봉건국가로 규정했고, 첫 봉건국가를 고구려로 보았으며, 그 시기의 문학을 ‘중세문학’이라 했다. 이 시기 <황조가>를 비롯한 당대의 시가들을 통해 한자로 기록된 사실과 함께 ‘개별국가들을 초월하는 보편성’이라는 중세문학적 성향을 읽어냈다. 고대사회에 이미 이루어진 착취계급과 피착취계급의 분화에 따라 양자 간의 대립과 투쟁을 바탕으로 계급 간의 이해관계를 반영하여 지배계급에 복무하는 ‘반동적 문화’와 착취 및 억압에 신음하는 하층민들의 요구를 구현한 ‘진보적인 문화’로 갈라지게 되었고, 고대의 노래들 역시 그런 현실의 소산이라는 것이 그들의 견해였다. ‘집단적(공동적) 노동, 집단예술’ 등을 바탕으로 계급투쟁 이전의 원시성만 강조한 해석의 이면에서 이념지향의 욕구나 읽어내는 데 그친 것이 <구지가>였고, 노예 소유자 사회의 단계에 이르러 ‘개인의 정서와 감정을 반영한 서정가요’로서의 <공후인>이 출현했다고 보았다. 유리왕의 영웅성이 훼손되었다는 이유로 <황조가>를 소략하게 다룬 것도 이념 편향의 해석태도로 보아야 할 것이다.