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5Ðo Sung-Wonš Trapped in the Quest for Realism: Mistaken Equality in Namchang Chunhyangga Cho Sung-Won Abstract Critics have argued that Namchang Chunhyangga reflects Sin Jae-hyo’s quest for realism, as he attempts to correct the “realistically impossible” cross-class marriage between Chun-hyang and Mong-ryong by “promot- ing” Chun-hyang’s social status from a gisaeng to a seonyeo (illegiti- mate daughter of a yangban). The actual presentation of Chun-hyang’s social status in the text, however, sheds doubts on Sin’s alleged quest for realism. Not only is Chun-hyang’s resistance to the malicious magis- trate in Namchang not rationalized by the fact that she is a seonyeo, but she never wins legitimacy as the hero’s wife or honored for her loy- alty. This paradoxical treatment of Chun-hyang’s social status not only destroys the principle of imyeon (verisimilitude) that Sin Jae-hyo val- ued so much, but undermines the popular spirit of freedom and human equality. In conclusion, the transformation of Chun-hyang from gisaeng to seonyeo does not indicate class promotion but the confirma- tion of class hierarchy. Keywords: Sin Jae-hyo, Namchang Chunhyangga, seonyeo, Chun- hyang, class hierarchy, middle-class consciousness * This study was supported by Seoul Women’s University Research Grant. Cho Sung-Won (Jo, Seong-won) is Professor of English Language and Literature at Seoul Women’s University. She received her Ph.D. in Comparative Literature from University of Texas at Austin in 1994. Her publications include “Renaissance Nun vs. Korean Gisaeng: Chastity and Female Celibacy in Measure for Measure and Chunhyang jeon” (forthcoming) and “Waiting for the Sage King: The ‘Political Unconscious’ of Namchang Chunhyang Ga” (2003). E-mail: [email protected]. Trapped in the Quest for Realism 103 Introduction Namchang Chunhyangga (Male Vocal Version of the Song of Chun- hyang)1 is Sin Jae-hyo’s pansori version of Chun-hyang’s story, a story that had long been the most popular in late Joseon society. In late nineteenth-century Korea, it was told and retold in various ways —in fairy tales, shamanistic rituals, folk songs, poems, and novels— but it was most loved in pansori form. Sin did not have to depart far from tradition to “rewrite” this famous story: he keeps the original plot of Chun-hyang’s cross-class love and marriage with Mong-ryong, and provides his text with the traditional happy ending. In his ren- dering of the characters and themes, however, Sin Jae-hyo differs from his source tales, and he is so creative in what he does that Nam- chang may well be entirely credited to him rather than to an anony- mous folk tradition. The work is coherent in style and plot, consistent in characterization, unified in narrative structure, and logical in pre- sentation of themes and ideas. These are the characteristics of single authorship, virtually missing in other pansori versions of Chun- hyang’s story before Namchang. Previous versions are anonymous, and presumed to be products of multiple authorship. Critics have argued that Namchang reflects Sin Jae-hyo’s quest for realism and objectivity,2 and there is much textual evidence that tells us that he “deliberately” rewrote the story of Chun-hyang to make it “realistic” and “logical.” In Namchang, Sin often speaks in his own voice, whenever needed, to explain why he wants to present certain scenes and ideas differently from the conventional handlings of them. In most cases, Sin intervenes when the traditional texts include inconsistencies in the presentation of characters and events and unrealistic and illogical development of themes and ideas. One of the most important elements of pansori performance is its verisimili- tude (imyeon), which means to present, act, or tell things as realisti- 1. The work will be abbreviated as Namchang hereafter. 2. Kang (1972, 105-131); Bak (1978); Jeong Byeong-heon (1986). 104 KOREA JOURNAL / SUMMER 2004 cally and reasonably as possible so as to convince the audience that what they see and hear on stage is true and possible.3 Since Sin Jae- hyo remains loyal to the principle of imyeon in his writing,4 he tries to correct the points he considers illogical or impossible in traditional presentations of the Chun-hyang story, and judges them either from an approach of contemporary social reality or of dramatic structure. For example, from an approach of nineteenth-century Korean social law, the cross-class marriage between a yangban and a gisaeng (female entertainer) was not only impossible, but also improper. Thus, the literary convention that continued to fantasize about this realistically impossible marriage in the name of love had to be cor- rected so that it would no longer seem inconceivable. To make the story more plausible and acceptable, then, not only did the heroine’s social status as a gisaeng need to be changed, but she also needed to manifest the virtue and dignity appropriate for the image of a woman of great loyalty and chastity (jeongnyeol buin). This is part of the rea- son—according to critics—why Chun-hyang in Namchang is given a yangban father by Sin Jae-hyo: he thus makes her a “compatible” partner for the hero, both socially and ethically, by elevating her social status. This is the kind of the logic, Sin seems to insist, which the story should have in order to keep itself in accordance with its 3. The word for verisimilitude in Korean, imyeon, means the inside story, and “acting in accordance with imyeon” is uniting the inside and the outside. In pansori, there- fore, imyeon refers to a coherence between what the audience sees or hears on stage and what is represented by the saying or actions on stage. Imyeon empha- sizes the intrinsic possibility of things, or their likeness to the truth, and in Korean pansori, imyeon is best compared to the Aristotelian concept of verisimilitude in Western literature. For a more detailed discussion of Sin’s use of imyeon, see Jeong Byeong-heon (1986, 45-51). 4. In his recent studies of Sin Jae-hyo’s Namchang and Dongchang (Children’s Vocal Version), Seong Hyeon-gyeong argues that the quest for imyeon is the fundamental principle which governs the narrative structures of both works. The difference is, he notes, that Namchang shows an active quest for verisimilitude, while Dong- chang remains passive and incomplete in following this principle. Seong concludes that Dongchang is the earlier version of the two, challenging the general opinion that Namchang was written first. See Seong H. (1993a, 75-97; 1993b, 181-203). Trapped in the Quest for Realism 105 imyeon.5 Despite Sin’s intentions, however, his text tells a different story about the heroine’s class. Contrary to what critics have argued, the formal change in Chun-hyang’s social status does not seem to help her when it comes to her treatment as the daughter of a yangban. In Namchang, despite her supposedly promoted status, Chun-hyang remains the hero’s concubine, while the other “low-born” Chun- hyang characters in earlier versions are rewarded for their great endurance and fidelity by becoming legitimate wives. In addition, Chun-hyang is repeatedly referred to by the characters in the text— including herself and her mother—as a cheonmin, a member of the lowest class. Therefore, it is questionable whether Sin Jae-hyo truly meant to promote Chun-hyang socially by giving her a yangban father. If Sin had really wanted to promote her, he would surely have made her a legitimate wife at the end. It is, therefore, ironic that Namchang’s Chun-hyang winds up with a lower social position than any other Chun-hyang characters, although she is the most aristocrat- ic and virtuous character among them. Sin Jae-hyo’s ambiguous treatment of his heroine’s social status essentially undermines the structural principle of imyeon he so val- ued. It creates a discrepancy between what the author seems to have wanted to present and what is unconsciously “represented” in his actual presentation. This paper will explore the meaning of this dis- crepancy and what it symbolically hides. My conclusion is that the seonyeo6 Chun-hyang reflects Sin’s middle-class (jungin) anxiety 5. Those critics cited in notes 2 and 4 agree that the change in Chun-hyang’s social status reflects Sin’s conservative attitude toward her cross-class marriage with the hero, which he obviously considered impossible. 6. The term seonyeo describes an illegitimate daughter of a yangban. Although the seonyeo, like seoja (an illegitimate son), belonged to the cheonmin, the lowest class of Joseon society, the term bestows Chun-hyang with a slightly better social posi- tion than the code of law does, primarily because of her half-noble heritage. Thus, in Joseon society, the incongruity between the legal definition and the actual treat- ment of the seo-eol (illegitimate person) class often caused social and political con- flicts. 106 KOREA JOURNAL / SUMMER 2004 about social mobility in late Joseon society and that this has little rel- evance to human equality. Chun-hyang as Seonyeo: Promotion or Confirmation? Why did Sin Jae-hyo change Chun-hyang’s social status in Namchang? Previous versions had Chun-hyang’s mother as a gisaeng, and her father unknown but presumed to be a sangmin (commoner), thus making Chun-hyang a gisaeng as well and therefore one of the cheon- min class. In Namchang, by contrast, Chun-hyang is an illegitimate child born to a yangban father, and is therefore bestowed with a half- noble heritage.7 Although Chun-hyang’s blood does little to promote her status legally, it is influential in regard to her love and marriage with Mong-ryong, because it relieves the potential social uneasiness caused by this cross-class relationship.
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