The Meaning of “Eight Scenic Views of XiaoXiang” Realized by Pansori

This study analyzes the form and composition of the Pansori XiaoXiang Eight Scenic View[瀟湘八景] and reveals how the symbolism of Views in the late Joseon Dynasty was incorporated and accepted into the Pansori. In the five current Pansori, the Views appear in all the sections of Chunhyangga, Simcheongga, Sugungga, and Heungbuga, except for Jeokbyeokga. These were analyzed in terms of linguistic form and narrative structure. In terms of form, the pansori passages of the XiaoXiang Eight Scenic View constantly remind us an authentic precedent of the XiaoXiang Eight Scenic View. It can convey not only the beautiful scenery, but also the emotions of affection and the ethical values of constancy, loyalty, grace, and transcendence. In addition, by employing the strategy of epic poetry, the reading of the epic of the XiaoXiang Eight Scenic View was made more accessible to the public. On the other hand, it also utilized Hansi, the representative expression of the XiaoXiang Eight Scenic View, to embrace the upper class and turn it into an intellectual entertainment rather than a simple playground. Pansori singer’s literary skills were utilized to expand and contract each paragraph of the XiaoXiang Eight Scenic View. In terms of composition, the Views appear in the boundary between reality and unreality, that is, the transitional character, as recognized as an idealized landscape space that was not actually experienced in Joseon at the time. In addition, the reason ChangoMoun and HwangneungEiwon were inserted instead of SansiChungram and GangcheonMoseol, which are the general sanctions of the Views, is the result of selection and exclusion of the late Joseon Dynasty’s secular and popular literary view of literature and objective rationality in the late Joseon Dynasty. In this way, the XiaoXiang Eight Scenic Views of Pansori clearly reflect the scene and culture of the Soripan in the late Joseon Dynasty, when Pansori was popular and expanded.