This paper analyzes the shadows and the sounds in the tales of Aesanbulyeong, based on the reality that Samgukyusa consists of a story of normal individuals who lead their lives in pursuit of an inner native desire for the world. The tales are analyzed in this manner: First, tales are categorized into two groups, according to whether they contain audial image or not. Secondly, for specific analysis, Aesanbulyeong was distinguished into different territories, including the stories of tales themselves, inter-tales, and out of the tales. Under Schopenhauer’s concept of the Representative and the Original (translated from Nachbild in Germany), the shadow of Buddha, presented as a visual image, can be interpreted as the sound of the fish and dragons which became stones.
Unlike the representation of the Buddha, which comes in the form of shadow, the sound from the stones from Goki is situated as the Original. The valley presented as the background of the sound is an open place, which makes Aesanbulyeong in Goki different, as the background in the other tales mainly takes the form of caves. The sound, as a shadow of Buddha, is also discovered in Kwanbulsammakyung, but it differs from the tale in Goki in that Buddha expresses the sermons with the use of spoken language. In conclusion, the shadow of Buddha is presented as sound, which causes Aesanbulyeong from Goki to be read as the Original from the Schopenhauer’s view.