Semin-hwangje bon-puri
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| Semin-hwangje bon-puri | |
 First page of the transcription of the 1931 version | |
| Korean name | |
|---|---|
| Hangul | 세민황제본풀이 |
| Hanja | |
| Revised Romanization | Semin-hwangje bon-puri |
| McCune–Reischauer | Semin-hwangje pon-p'uri |
| Part of a series on |
| General bon-puri narratives of Jeju Island shamanism |
|---|
| Presented in order of recitation in the Great Gut |
The Semin-hwangje bon-puri is a Korean shamanic narrative formerly recited in southern Jeju Island during the funeral ceremonies. As it is no longer transmitted by the oral tradition, it is classified as one of the special bon-puri.
Two versions of the myth are known. In the older version recited in 1931, the tyrannical Chinese emperor Taizong of Tang dies and is obliged to compensate those he had taken unjustly from while alive. However, his afterlife vaults are virtually empty, as he has given so little to charity while alive. The emperor pays off his victims by borrowing from the rich afterlife vaults of a couple named Maeil and Jangsang, and is then allowed to return to the living world. The resurrected emperor disguises himself as a beggar and observes Maeil and Jangsang's good works firsthand. He resolves to live a moral life, sends a monk to retrieve the Buddhist canon from the divine realm of Sukhavati, and takes Maeil and Jangsang as his mentors. The much shorter and rather disorganized 1961 version begins with a discussion of Maeil and Jangsang's charity and ends with the two building a bridge to the afterlife, with Taizong only appearing in the middle of the story.
The Semin-hwangje bon-puri is a shamanic adaptation of the Tale of Tang Taizong, a Korean Buddhist novel itself inspired by a small portion of the sixteenth-century Chinese novel Journey to the West. The 1931 version is much closer to the Buddhist source than the 1961 version, but both diverge somewhat from the original novel—such as by emphasizing the role of Taizong as more of a human individual than as an emperor—in order to better fit the new shamanic context. The narrative also shows influence from other shamanic narratives and from folktales.
Bak Bong-chun's version
As is typical of Korean shamanic narratives and oral literature more generally, the Semin-hwangje bon-puri exists in multiple versions. Researchers have transcribed two of them, one recited in 1931 and the other in 1961.[1] As oral transmission of the myth has ended, no discoveries of other versions can be expected through further fieldwork. It is accordingly classified as one of the "special bon-puri," a term used to refer to narratives which are no longer in oral transmission and are known only from very few transcriptions, and whose ritual context and purpose are thus incompletely understood.[2]
Bak Bong-chun (1901–1957)'s version was recited in 1931 and published in 1937 by the Japanese ethnographers Chijō Akamatsu and Takashi Akiba.[1][3]
The seventh-century Chinese emperor Taizong of Tang, referred to throughout the narrative as Semin-hwangje "Emperor Semin" after his given name Shimin (Sino-Korean Semin), is a cruel tyrant who persecutes Buddhism and torments his subjects. When he dies and is taken to the world of the dead, the dead who suffered under the emperor's rule appeal to the King of the Dead to avenge their torment at his hands. The King orders Taizong brought forth and tells him to make compensations.[4]
In order to repay the people he took unjustly from, Taizong checks his vault in the afterlife. There is nothing but a bundle of straw inside: the same bundle that he gave to an old man in his youth. That bundle was the only thing that the emperor has willingly given to others while alive. Taizong is forced to borrow money from the vaults of a couple named Maeil and Jangsang, whose afterlife vaults are full of riches. Once he has compensated his victims, the King of the Dead orders him to do good works while alive, and tells the emperor to follow a straight road while ignoring the advice of a spotted calf and a white puppy.[5][6] Having done so, he falls into a pond by which he returns to the world of the living.[7]
Having been resurrected, Taizong orders his ministers to find Maeil and Jangsang, who make shoes and run a tavern for a living.[8] The emperor disguises as a beggar to visit them. First, he buys three cups of liquor. He realizes that the prices they offer are half those of other taverns. Second, he goes to their shoe shop to buy a pair, and they give him another pair for free. Finally, he asks them to lend him ten cash coins, but they give him the money for free. The emperor realizes that their vaults in the afterlife are so rich because they give to others so willingly in life.[5][7]
The repentant emperor assembles his court and asks them how one can do good works. The chancellor suggests that he go find the Tripiṭaka or Buddhist canon. The emperor orders a monk named Hoin to go to Sukhavati to retrieve the Tripiṭaka. On the way, Hoin saves a man named Bbareun-gaebi, who has been trapped under a cliff for a thousand years. Bbareun-gaebi carries the monk on his back and jumps into the underwater realm of the Dragon King. The two board a ship from there to Sukhavati. Hoin receives the Tripiṭaka from the Jade Emperor and gives the scriptures to Taizong.[5][7][9]
Taizong calls forth Maeil and Jangsang and praises them, speaking of his experiences in the afterlife. He offers them great fortunes to pay back the money he borrowed from their afterlife vaults, but they refuse, instead regretting that they have not helped as many people as they could. The emperor insists, saying that it is the order of the King of the Dead that they accept payment. Afterwards, the emperor consults with Maeil and Jangsang on every affair and does good works for humanity.[7][10]
Jo Sul-saeng's version
Jo Sul-saeng (1906–1997)'s version was recited in 1961 and published by the Korean ethnographer Jin Seong-gi in 1991.[1][11] It is extremely short compared to Bak's, and lacks narrative coherence.[12] As Jo was then only a novice shaman,[a] there is scholarly doubt as to the quality of the narratives she recited.[13]
Maeil is a man from heaven and Jangsam is an earthly woman. When there is a famine in heaven, the two decide to make a living on earth. They do hired work on sunny days but refuse to take all of their wages, and make shoes on rainy days but sell at low prices. When they die, they find that their vaults in the afterlife are full of the money that they did not take.[10]
The greedy Emperor Taizong dies and goes to the afterlife, only to find that all there is for him is a single bundle of straw that he had given while alive to a woman with a newborn. The emperor borrows money from Maeil and Jangsam's vaults to repay the people he stole from before he is allowed to return to the living world. The emperor is resurrected after four days and repays his debts by holding a ritual for the souls of the couple. Later, Maeil and Jangsam build a bridge called the Deokjin Bridge in Yeongam in mainland Korea. They receive charity from everyone crossing the bridge and use these donations to create a bridge to the world of the dead.[14]
Ritual context
The Semin-hwangje bon-puri was formerly recited in the Chaseyeong-maji,[15] a component ritual of the Siwang-maji, the funeral ceremony of Jeju shamanism.[b] The Chasayeong-maji consists of the shaman ritually paving a road for the gods of death to arrive, and reenacting the journey of the soul to the afterlife on this road.[17] At the end of the Chasayeong-maji, the shaman opens the twelve doors of the afterlife for the soul to pass.[18] The Semin-hwangje bon-puri was recited at this part, as a rite in which the deceased soul repents its sins in this world—much as the emperor does in the myth—before exiting it.[15][19] The central purposes of the narrative were to remind the worshippers that good works and charity are religiously important and will be rewarded in due time, and also to demonstrate the efficacy of shamanic ritual, here construed as a form of charity, in helping the deceased be forgiven of their sins.[20][21] It is accordingly characterized as a highly moralistic myth.[22]
The narrative has not been attested in any fieldwork of Jeju shamanism since 1961 and is not recited today,[2] although a disciple of Jo Sul-saeng was aware of its existence when interviewed in 2002.[15] As traditional Jeju religion has been in decline since the 1960s, relatively unimportant narratives such as the Semin-hwangje bon-puri may have been abandoned by shamans.[23]
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