한국 도깨비 동화의 형성과 변형 양상 연구

Abstract

이 연구는 설화의 동화화 과정을 기술하여 시대의 변화에 따른 아동관의 변화와 그에 따른 문학적 형상화의 차이를 드러내어 기존 문학사의 편협성을 일깨우며 동화의 특성을 드러내어 동화의 장르적 정체성을 규명하려는 목적으로 작성되었다. 이 연구에서는 설화의 변천과정, 그 중에서도 ‘도깨비 이야기’의 변천과정을 그 대상으로 하였다. 도깨비는 우리 전통의 요괴(妖怪)로, 전통적인 이야기 계승을 논할 때마다 그것에 적합한 대표적인 캐릭터로 주목받아왔다. 도깨비에 대한 인식은 삼국시대부터 드러나는데, 삼국시대에는 ‘신앙의 대상’으로, 15세기 이후 자연의 정령으로, 17세기 이후에는 부신적 속성, 아둔한 속성을 띠는 인간과 유사한 존재로 인식된다. 시대가 지나면서 기존의 인식 위에 새로운 인식이 부가되므로, 도깨비는 신(神)적 속성과 요괴(妖怪)적 속성, 인간적인 면모까지 가미된 다양한 인식소로 구성되어 그 실체를 단순하게 설명할 수 없는 존재로 형성된다. 일제 강점기에는 도깨비 이야기가 전래동화로 개작되면서 권선징악(勸善懲惡)적 형태로 나타나는 특징을 지닌다. 이것은 당시 유행하던 ‘동심주의’ 아동관과 일제의 통치 정책인 ‘일제의 통치에 순응하는 식민지 국민을 양성하는 근대적 국민국가의 국민 양성’ 기획이 접합되어 형성된 것이다. 이 시기 교과서에는 ｢ 혹부리 영감님｣ 이야기가 세 번이나 수록된다. 특히 1933년 개정판 교과서에는 ｢ 이야기를 개작하여 ‘착한 사람의 이야기’로만 나타나는데, ‘거짓말을 하지 않는 정직하고 착한 사람’의 모습을 구현하는 ｢ 이야기는 그들이 주장하는 ‘착한 조선인’상(像)인 정직하고 순종적인 국민의 모습에 부합하는 것이 된다. 일제 통치 정책의 영향은 조선인이 저술한 전래동화집인 박영반의 󰡔 조선전래동화집󰡕 에서도 찾을 수 있는데, 이 책에는 1933년 교과서의 ｢ 혹뗀 이야기｣ 에 나타나는 개작된 이야기의 형태가 그대로 수록된다. 이러한 양상은 해방 이후에도 개선되지 않아 개작된 상태로 이야기가 널리 알려지게 되어 ｢ 이야기가 본래 권선징악(勸善懲惡)적 전래동화인 것으로 인식하게 된다. 도깨비 이야기는 해방 이후 1970년대에 이르러 ‘전통 계승’을 강조하는 사회적 분위기와 함께 다시 주목받기 시작한다. 이 시기에는 도깨비를 주인공으로 내세워 도깨비와 인간간의 관계에 주목하여 작품 전반적으로 애상적인 정서를 드러내는 작품들이 많이 창작된다. 또한 도깨비가 지닌 폭력적, 요괴적 속성을 변형시켜 도깨비의 모습을 순진하고 신비하게 묘사하는 작품들이 나타나 다양한 양상의 전통적인 도깨비의 모습을 획일적으로 변형시키며, 도깨비 이야기 역시 획일적인 양상으로 나타난다. 이러한 양상들은 모두 동심주의 아동관의 영향을 받은 작품들로, 어린이에게 아름다운 것만을 보게 해야 한다는 의도가 오히려 이야기의 전통성을 훼손하여 이야기의 미적 가치를 떨어뜨리게 한다. 설화의 민중성을 계승하자는 움직임은 이러한 양상에 대한 비판을 통하여 형성된다. 이들은 기존의 동화가 아름답고 몽환적이며 획일적인 형태로만 나타나는 이유로 동화가 가난한 어린이의 삶을 외면했다는 점을 지적한다. 이들은 어린이의 현실적, 사실적인 모습을 직시해야 하며 그들의 삶을 문학으로 다뤄야 함을 주장한다. 또한 그들은 설화에서 찾을 수 있는 서민적 정한, 해학, 고발, 풍자 등을 ‘민중성’, ‘서민성’이라 일컬으며 이것들을 계승해야 한다고 주장한다. 1970년대에 발표된 권정생의 창작동화와 1990년대에 발표된 서정오의 전래동화는 모두 이러한 문학관의 영향을 받은 작품들이다. 특히 서정오는 전래동화 재화를 전문적으로 하며 설화를 재화할 때 반드시 계승해야 할 것을 ‘민중성’이라 언급한다. 그의 도깨비 전래동화에서 찾을 수 있는 특성으로 ‘도덕적인 부의 창출과 인간의 지혜’, ‘다양화된 권선징악적 전래동화’, ‘요괴적 속성의 약화와 신적 속성의 강화’를 들 수 있다. 이와 같은 양상으로 설화를 계승하는 전래동화들이 다양한 삶의 모습을 드러내며 동심주의에 의해 한정되었던 이야기의 소재가 확장되었음을 볼 수 있다. 또한 설화와 다르게 인간의 노력, 인간의 변화 의지와 희망을 제시하는데, 이런 점들이 곧 동화의 특성이 된다. 그리하여 ‘당연하고 획일적인 지루한 이야기’라는 인식을 주는 동화가 다양한 인간의 삶을 보여주며 전망을 제시하는 문학으로 거듭나 동화의 문학적 가치가 높아졌음이 이 연구를 통하여 규명되었다.; The purpose of this study was to examine the adaptation of Doggaebi tales into fairy tales in an attempt to grasp the development process of Korean fairy tales and determine the identity of fairy tales as a genre. In the history of Korean fairy tales, only beautiful and fantastic stories were typically viewed as good fairy tales on the ground that children were innocent angels(Dongsimjui:童心主義). That resulted in narrowing the sphere of fairy tales by deterring different sorts of fairy tales from being regarded as fairy tales, and nursery tales were eventually considered less valuable, being looked upon as merely stereotyped and uninteresting. In modern times, however, some argued that the identity of fairy tales be rooted in narratives, and there are new movements to study narratives to compose fairy tales. Their efforts have produced a series of good results, and a lot of works that are diverse in content and form have been created. Now it's time to evaluate those fairy tales in terms of the history of literature. So it's meant in this study to describe the adaptation process of tales into fairy tales in a bid to find out a change of child view in different ages and differences in literary visualization, to raise awareness of the narrow perspective of existing literature, and finally to determine the characteristics of fairy tales and their identity as one of genres. There were initial statements about Doggaebi in and after the era of the Three Kingdoms. In that age, Doggaebi was viewed as the object of faith, and that was recognized as the spirit of nature in the 15th and 16th centuries. In and after the 17th century, that was regarded as what was semi-god, lustful and stupid and as what was similar to man. The new perception of Doggaebi was combined with the existing ways of looking at it, and its nature cannot simply be explained since it was considered to have the complex attributes of god, ghost and even man. And then a variety of stories have been created in conjunction with Doggaebi. Out of different stories created during Japanese occupation, just two stories were widely known, which were respectively titled 'A Doggaebi Stick' and 'An Elderly Man with a Wen.' Doggaebi stories, especially the latter, were similar in large part to ancient Japanese tales, and the fact lent credibility to Naeseonilcheron argued by Japan. That was why this story was included three times in readers of the Joseon language published in that period. In that period, Doggaebi tales were adapted into didactic fairy tales. In the Collection of Joseon Fairy Tales, 'An Elderly Man with a Wen' was also adapted into a morality fairy tale, which classified the characters into 'good people' and 'bad people' and described the fact that the good would be rewarded and the evil would be punished. The reason was that the authors of the Collection of Joseon Fairy Tales viewed fairy tales as didactic stories. 'An Elderly Man with a Wen' was adapted once again in the reader of the Joseon language revised in 1993. This story was modified into a story of a good man by omitting the latter part about the addition of another wen and by portraying the good character as one who got rid of the wen and gathered wealth. Contemporary fairy tales collected and adapted by Korean writers were still under the influence of Japan. A fairy tale titled 'A Hok Dden Story' and included in the Collection of Traditional Korean Fairy Tales published by Park Young-man in 1940 was identical to the same-titled story included in the revised 1933 textbook, and that was exactly the same as the adapted story included in the reader of the Joseon Language, because the story depicted only the character who got rid of his wen without mentioning the latter part about the addiction of another wen. There were another Doggaebi story in the textbook, which was titled 'A Gold Stick and a Silver Stick.' Those stories were gathered and adapted by Korean writers, but the stories changed a lot instead of being restored to the original state, due to the impact of Japan. And the story titled 'An Elderly Man with a Wen' have just been regarded as a didactic traditional fairy tale. Since the liberation of the nation, it was not until the 1970s when the contemporary government tried to advocate tradition to protect its power that full-scale Doggaebi stories appeared. In the sector of children's literature, traditional subject matters were selected in composing fairy tales in line with the national movement for the advocacy of tradition, and Doggaebi drew attention as one of traditional subject matters. So a lot of fairy tales adopted Doggaebi as the main character. Doggaebi- related fairy tales had a tendency to stir up nostalgia for old things, to criticize against Western civilization, science and technology, and to point out problems with the development of rural communities. Those kinds of works were created in reaction against the new Western civilization introduced since the Korean War, and they lagged behind in terms of reality because of their ill-grounded defiance against new things. In the 1970s, new authors including Lee Oh-deok argued that the concept of 'ordinariness' should be introduced in oral literature, and that inheritance of tales be required to build the identity of fairy tales. Ordinariness referred to all the shades of emotion that had been represented by Korean literature, and traditionality was defined as a manifestation of all the past and present ordinariness. The authors insisted that the ordinary sentiment, humor, criticism and satire of oral literature be evolved into new things in consideration of modern people's ideas and ethics. Ordinary people referred here to those who labored, and the ordinariness of children's literature denoted a visualization of stories about working children through literature. In the past, children had been regarded as innocent angels, and fantastic fairy tales had been created as a consequence. But the new writers looked at children as they were, and they turned stories about poor and working children into literary works. The emphasis of 'ordinariness' served to change the concept of 'children,' and fairy tales got to describe children's lives from various angles. Kweon Jeong-sang's works created in the 1970s were typical works that represented ordinariness. His works portrayed the lives of poor children in a plain and candid manner, and the superb reality of the works contributed to elevating the worth of creative fairy tales. In the 1980s, ordinariness was replaced with another term 'popularity' due to the influence of labor movement. Seo Jeong-oh argued that popularity should be guaranteed in the course of adapting narratives. He looked at popularity from five different perspectives: advocating the disadvantaged, casting away the bondage of convention and morality, shedding light on and overturning reality, satire on power and authority, and unrestricted humor. His argument was embodied in his collection of traditional fairy tales titled 'Miraculous Doggaebi.' He enlarged the sphere of didactic Doggaebi fairy tales by reflecting the diverse looks of life and including lots of instructive stories, and he thereby was successful in extending the realm of traditional fairy tales. Thus, the movement to pass narratives onto the next generations was marked by the inheritance of popularity, which was one of the primary features of narratives. The fact that the characteristics of narratives were handed down to fairy tales meant that all the content and nature of narratives were inherited. And it denoted that even stories that were ruled out as adult stories could be adopted as subject matters of fairy tales. In the past, children had to look at and listen to what's good only on the ground that they were innocent, but now the various aspects of life, such as the lives of the poor and laborers to which they couldn't be exposed before, might be selected as subject matters of fairy tales, and the sphere of fairy tales was eventually enlarged. This study made it clear that fairy tales established their identity as a genre to depict the looks of diverse lives to explore the authenticity of life.