The Main Contents of the Korean Traditional Folk Story Chunxiang Zhuan

It is a classic literary masterpiece formed by the Korean people through long-term oral communication. It is said that this story first came into being in the14th century, during the Korean King Gong period, and continued until the end of18th century and the beginning of the 9th century with Zheng (note: the English and Zheng periods refer to the twenty-first generation of Wang Yingzu (1724- 1776) and the twenty-second generation of Li Ming. ) period to finally form a complete work. There are many different versions, such as Quanzhou local version, Beijing version, Shuishan Guanghan Building, Chinese version, Chunxiang Biography, and Guben Chunxiang Biography. 1954, the Korean Writers' Union Publishing House collated and proofread the Song of the Spring Festival of the Fierce Woman, and published it with the title of Chunxiang Biography.

In North Korea, the story of Chunxiang is a household name. It is divided into two volumes. The first volume is about abstinence from prostitution (note: abstinence from prostitution refers to geisha who change their nationality. Li Menglong, the son of Hanlin's two classes, happened to meet Yuemei's daughter, Chunxiang, and they loved each other and got married privately. Li Hanlin was quickly transferred to the capital, and told Magnum first, but Chunxiang and Magnum had to say goodbye. The second volume is about the new ambassador of Nanyuan learning by the way. After taking office, he forced Chunxiang to guard the main hall for him (note: guarding the main hall means being a concubine, but it is not a formal concubine. ), Chunxiang refused to accept, was forced to go to prison, and her life was at stake. Menglong took the exam in Beijing, served as the ambassador of Jeolla, and secretly inspected Nanyuan. He found out the truth of Bian Xuedao's evil deeds, went to Bian Xuedao's birthday party anonymously, and left a satirical poem to attack. Afterwards, Bian Xuedao was dismissed, Chunxiang and Magnum reunited, and * * * went to Beijing.

Why did such a sad story, which ended in a happy ending, spread widely in the last years of Li and evolved into an eight-part novel "The Story of Spring Fragrance"? To put it simply, this is because Chunxiang Biography expressed the thoughts and feelings of the Korean people at that time, and the Korean people should also reflect their love and hate through Chunxiang Biography. 1at the end of the 8th century1at the beginning of the 9th century, in the feudal society of the Li Dynasty, the aristocratic class was arrogant and extravagant, the two classes ruled in darkness and decay, and the people were persecuted and exploited. Peasant uprising, civil struggle and the exposure and criticism of feudal system by practical thinkers all reached a climax, and the feudal system of Li Dynasty was on the verge of collapse. It is under such historical conditions that the Biography of Spring Fragrance was perfected through the oral transmission of the people.

Thus, the story of "Chun Xiang" is by no means a simple love novel. It just takes the love story as the plot clue and the struggle with the snowy road as the central event. Attack the corrupt bureaucratic rule of the Li Dynasty. Praising the people's resistance is its theme. The poem "A golden bottle of good wine and a thousand blood" written in the novel illustrates this theme.

The hero of the novel is Cheng Chunxiang, the daughter of a prostitute who retired from prostitution. During the dissemination of the works, the Korean people expressed deep sympathy for her unfortunate experience and warmly praised her indomitable quality. She is the representative of the beautiful image of Korean women who fought for love and marriage freedom in the late Li Dynasty.

Marriage should be a combination of love. According to this standard, young Chunxiang made a free choice for her "lifelong event". Although she is the daughter of a prostitute, she is "strong and ambitious since childhood, and she is generous." "Never like the poor generation", dreaming of "* * * concentric knot" love. Guanghanlou happened to meet Menglong, the son of Hanlin Class Two. Chunxiang broke through the bondage of status and decided to marry magnum. However, marriage is a social problem after all, and the shaky rulers of the Li Dynasty continued to maintain a strict class identity system to prolong their dark rule. Therefore, when magnum had to leave Nanyuan with his father, their freely combined marriage showed more and more differences in status and class. In order to protect her rights and personality, Chunxiang launched an active conflict and struggle with feudal society.

The first conflict between Chunxiang and society occurred between Chunxiang and Menglong, which belonged to the contradiction between the two concepts. On the one hand, Chunxiang has always been faithful to love. She didn't choose magnum to be attached to a noble family. In love, she reminds Magnum that there is a difference between "noble interface" and "loose door", and they don't combine until Magnum's decision is true. On the other hand, at the critical moment of leaving Nanyuan, your son Meng Long actually believed in the feudal family motto, "Marrying a geisha's daughter as a concubine will not only ruin the family, but also ... will definitely ruin the future" and said to Chunxiang, who had been madly in love, "I can't help but break up". This is undoubtedly the expression of magnum's submission to feudal traditional concepts.

The contradiction between Chunxiang and Magnum is actually the conflict between free marriage and the status level of "respect and inferiority" at that time. At that time, Chunxiang pointed out to Menglong, "Don't think that Chunxiang is a mean girls and you can abandon her at will." Then rebuke the unreasonable hierarchy: "the nobles of the two classes are vicious!" Damn it! Damn it! Humble is really hateful! Everyone wishes all lovers will be well, jack shall have Jill. I never thought there were such vicious two classes in the world! " This is Chunxiang's sincere call for freedom of love, and it is also a grievous protest and serious criticism of the status hierarchy!

The second conflict between Chunxiang and society occurred between Chunxiang and the snowy road, which was a direct and sharp contradiction and struggle between Chunxiang and the two classes and feudal system. This struggle is a class conflict between the ruler and the ruled, and between the oppressor and the rebel.

The cause of this conflict is that Chunxiang does not obey the side snow trail, and the side snow trail uses its privileges to put Chunxiang into death row. Chunxiang is a victim of feudal tyranny, but at the same time she is also its exposer and protester. In court, Chunxiang rebuked Bian Xuedao, "Why are people who hijack married women innocent?" "Are you here to treat the people or to harass them with torture?" Then, it was further revealed: "Taoist scholar-officials didn't pay attention to the four political departments, didn't know the sufferings of the forty people, but knew bending the law." She publicly put forward "unjust, false and wrong cases" and "willing to get a seven-foot sword to assassinate thieves and traitors." She believes that "innocent people will always reverse their convictions" and "doing things will inevitably lead to no good end." Here, Chunxiang's complaint and protest of grief and indignation precisely expressed the resentment and hatred of the Korean people against the feudal system at that time. Chunxiang gradually launched a struggle against bureaucratic tyranny from fighting for personal love freedom to safeguarding personal dignity, which greatly enhanced the social significance of Chunxiang's image. This made Chunxiang an expression of the thoughts, feelings, will and wishes of the Korean people at that time.

Li Menglong, an intellectual born in two classes at the end of feudalism, has certain progressive thoughts. In the early days, they were aristocratic children who pursued personality liberation and demanded marriage autonomy; When Meng Long was appointed as an imperial envoy of Jeolla, he was an "honest official" in the feudal ruling class, which was the opposite of the frontier snowy road. The difference between him and the decadent Class Two at that time was that he had certain connections with the people. He secretly inspected Nanyuan and paid attention to the voices of the lower classes. He himself said, "If you want to know what happened in the city, you must ask the farmers." . He can also punish corrupt officials according to public opinion within his power. Finally, he left a satirical poem at the birthday party of Bianxuedao:

Golden bottles, good wine, the blood of thousands of people,

Pan Yucai Wanxing cream,

People cry when candles are in tear drops.

There are high complaints at the top of the song.

Poetry mercilessly exposed the crimes of Bian Xuedao and his gang who exploited the people cruelly, and concentrated on expressing the resentment and protest of the broad masses of the people against feudal bureaucrats with corrupt morality and ugly behavior. Afterwards, he promptly dismissed the side trail, cleaned up the prisoners, reunited with Chunxiang and crusaded against Beijing together.

In the era of the decline of feudal system and the upsurge of people's struggle, it is possible to have an "honest official" like Li Menglong. However, in order to completely solve the sharp contradiction between the decadent feudal system of the Li Dynasty and the masses of the people, an "honest official" from two aristocratic classes can never accomplish this historical task by means of "being an official" and dismissing the official. The omnipotent image only shows that the Korean people need to express their desire to oppose social ugliness and change the social status quo through this ideal image of "being honest and clean".

Bian Xuedao was a typical feudal bureaucrat in the late Li Dynasty. His characteristic is arrogance and extravagance, bending the law. In the novel, he opposes Chunxiang, Magnum and the masses. He was originally a "cunning" and "immoral villain", but he was appointed as the ambassador of Nanyuan by the bureaucratic ruling group. He has great responsibilities, but he is indifferent to political affairs. But relying on power to persecute the people and even kill Chunxiang. Bian Xuedao's greed and cruelty just showed that the feudal society of the Li Dynasty was decadent and on the verge of extinction.

Chun Xiang, Meng Long and Bian Xuedao were typical representatives of different classes of Korean society at that time. In addition, the book also depicts the characters such as maid, bookish and geisha, which enriches the social life picture of the work and shows the author's sympathy for the lower class.

In art, The Story of Spring Fragrance is a novella with national characteristics and folk literature style. The structure of the novel has the characteristics of folk stories: a beginning and an end, and a strong story. The novel Volume I is the "beginning" of Chunxiang's story from birth to falling in love and parting with Magnum. After the above-mentioned articles, the "second volume" launched a broad social picture and ups and downs of struggle scenes: Chunxiang bravely fought while crossing the snowy road, sent an imperial agent to spy on the South Plain, met in prison, filled poems at birthday banquets, and dismissed officials. Gradually push the story to a climax and highlight the theme of the work. The first volume is mainly lyrical, the second volume is mainly narrative, and finally ends with a happy ending, turning sadness into joy. The whole work is complete, unified and harmonious, with the flavor of classical art.

In the aspect of characterization, Chunxiangzhuan, like many folk literature works, describes the appearance, psychology and environment of the characters, which is closely combined with the development of the plot of the novel. Moreover, this description clearly shows the author's praise and criticism and expresses the people's mood. In order to describe Chunxiang, the author combined the plots of spring outing, love and marriage, and described her appearance, modality and psychology with delicate brushstrokes. Through separation, trial, imprisonment and other scenes, it shows her inner thoughts and qualities of pursuing equality, not afraid of violence and being brave in struggle. The characters are both realistic and ideal. The magnum image in the book highlights the comparative application of its thought and character in the plot development. The writer has praised and criticized him, and basically he has affirmed and criticized him. Bian Xuedao, a corrupt official, used cartoons to describe his ugly behavior, which showed the people's hatred and denial of feudal bureaucrats. It can be seen that the basic creative method of Chunxiangzhuan is realistic, but it also contains romantic factors.

The style and language of Chunxiangzhuan have the characteristics of folk literature, combined with "rap". The "speaking" part is written in prose, and the "singing" part is written in verse. Prose is easy to understand and used for narration; Elegant rhyme is used for description and lyricism. In the novel, the characters' language is also written in prose and verse. Chunxiang's language is scattered and rhymed, sometimes high and vigorous, sometimes low and tactfully, which shows her rich inner world and noble quality; Meng Long's language mostly uses verse, which reflects his education and identity. The language of Bian Xuedao is all prose, awkward, rude and arbitrary. The farmer's lyrics are simple and harmonious, showing the true nature of workers.

The Story of Spring Fragrance also quotes many folk songs, nursery rhymes, idioms, epigrams, slang and short stories, which further enhances the national and folk literature characteristics of the work. The book also mentions the poems and allusions of China's ancient writers, which are integrated with things with Korean national characteristics and reflect the classical style of the novel.

In the long-term spreading process, Chunxiang's story has also been infiltrated by feudal consciousness. On the one hand, it eulogized the Li Dynasty which was on the verge of collapse, such as "Holy King and Virtue", "Longevity and Prosperity" and "Peace and Prosperity". On the other hand, it also propagandizes religious superstitions such as "Heaven and Earth God", "Ghosts and Ghosts Retribution" and "Getting something for nothing". All these can't help but affect the perfection of the thought and image of the work.

Generally speaking, The Story of Spring Fragrance is an excellent classical literary masterpiece created collectively by the Korean people and a valuable literary heritage of the Korean people. It is deeply loved by the Korean people and still gives us beautiful artistic enjoyment.