The Sublime and Grotesque in Pansori

This study examines the aesthetic qualities of Pansori from a slightly different perspective than the one presented in the literature by demonstrating that the sublime and the grotesque are aesthetic sentiments or emotions manifested based on the human body. The convergence and opposition between “what should be” and “what exists” in Cho Dong Il's discussion of aesthetic categories explains how aesthetic qualities can be connected to the thematic meaning network of a work; however, it does not concretely discuss the coexistence of different aesthetic emotions. The sublime is an emotion that manifests in the transition from displeasure to pleasure and is distinct from beauty. While beauty is “that which attracts” and is associated with “employed virtue,” which is attuned to the feelings and intentions of others, Kant's discusses the sublime as arising from “pure virtue from principles,” which in turn arises from the principle of respect for human nature. This confirms that the sublime involves sacrifice for others, but it must be accompanied by unpleasant emotions such as fear and dread. In the place of this principle is the ideology of “filial piety” required by late Joseon society; hence, we can see how the sublime is transformed into the embodiment of “filial piety.” However, the sublime in Pansori can be further explained by the concept of “delight.” If the sublime is the transition from unpleasantness to pleasure, then “delight” is the pleasure of being relieved of pain, fear, and terror, or of having these threats removed from the body of the aesthetic enjoyer. This is because pleasure, pain, and terror coexist in delight, whereas the ideology of “filial piety” imposed by the society is not directly enacted on the aesthetic enjoyer; therefore, the imposition of the ideology seems to be diluted because “filial piety” is wrapped in the sublime of “delight.” Both the sublime and the grotesque in Pansori are based on the human body. While the limits of imagination exhibited by these know no boundaries, those in Pansori are based on the flesh and display the limits of imagination that the flesh is capable of; however, they do not seem to show the emotions beyond the flesh.