A Review of the Relationship between Ssanghwagok and Ssanghwajeom, and the Theatrical Context of Ssanghwajeom Interpretation
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Ssanghwajeom is a popular song performed by the court, and Ssanghwagok, recorded as “Sokching-Ssanghwajeom” in Siyonghyang-Bo, is taken as the first part to inform the beginning and purpose of the performance, along with Dangakjeongjae’s role of “Jinguho” and “Chi-Eo”, and to convey long-lasting wishes to the King. The lyric heterogeneity of Ssanghwagok and Ssanghwajeom, which have not been explained so far, is an inconsistency caused by Ssanghwagok as the first performance of Ssanghwajeom and Ssanghwagok, which is free from content organicity. In other words, the complete prototype of Ssanghwajeom can be reconstructed into a total of five chapters, with Ssanghwagok attached to the beginning. The rest of the content of Ssanghwajeom is organized in the same format from Chapter 1 to 4 of the same repertoire, focusing on the content that “the main character was caught by the wrist (by the owner of a specific place).” In the case of Chapter 2, it is translated into Goryeo-sa under the name of Samjang, and the connection between Samjang and Saryong can be easily expanded to the connection with the Ssanghwajeom depending on the similarity of form and theme. As a result, the themes of Ssanghwajeom can be seen as “false rumors” and “spread by everyone.” In addition, based on this basis, approaching the lyrics of Ssanghwajeom and its interpretation will narrow the scope of interpretation to some extent for some difficult phrases, including Choheung-gu of the “Daroreo-Geodireo” type. This corresponds to a functional phrase meaning “expansion” and “diffusion” of rumors, and is also in line with the core of Ssanghwajeom related to Saryong in the sense of “increasingly gaining weight and spreading out of control.” Focusing on this, the core narrative of Ssanghwajeom expands and spreads the first event of “caught by the wrist” to rumors related to a “a place to sleep”, and completes a repertoire that leads to a blatant description of sexual analogy. That is, Ssanghwajeom has Ssanghwagok as a narrative to mark the beginning of performance, and sings the same theme in the same structure from chapters 1 to 4 with a dramatic nuance.
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