Abstract

This paper begins with the idea that Chasabonpuri and Jimgajaegut take the same pattern, as suggested in the previous study. The paper aims to prove that still there are differences between them as well as similarities digging more into the contents of Chasabonpuri. There is a need to positively examine the differences, as they are not local ones such as names and places. To this end, the body of this article scrutinizes the common narrative structure by identifying types of materials of Chasabonpuri and comparing different versions and compares with Jimgajaegut, to explain differences and similarities of the two shaman songs as well as underlying reasons. The differences can be discussed in three aspects: firstly, there is another conflict or encounter structure which does not appear in Jimgajaegut. In Chasabonpuri, the episodes of Jimgajaegut and king of this life Kimchiwon are added. Secondly, Chasabonpuri is unique in the sense that the song has strong nature as Bonpuri. Generally speaking, if it is not a coincidence that Bonpuri has developed in a systematic and diversely, compared to other regions, it is assumed that these characteristics unique to Jeju Island were reflected in the course of forming Chasabonpuri. Thirdly, Not only reciting a narrative shaman song, but also actual performance of certain parts of the song consist Chasabonpuri, hinting at the close relation between myth and ritual. Such a close connection between shaman songs and rituals is another characteristic of the shaman practice of Jeju Island. Consequently, if characteristics of the Jejudogut are condensed by Chasabonpuri, then conversely, we may assume that Chasabonpuri has developed, reflecting characteristics of the Jejudogut. In conclusion, Chasabonpuri and Jimgajaegut are shaman songs, which are same and different in some aspects; they have some narratives in common, while having unique ones at the same time. In addition, the purpose is important for a shaman song. Whereas Chasabonpuri is to banish the messenger that takes a dead soul to the underworld, Jimgajaegut aims at Aengmageum in light of naming methods and contents of the song. The connection of the Jeju gut with shaman songs and rituals shows its systematic nature. It can be said that there are episodes of same type, while their regional features appear to be different from Chasabonpuri and Jimgajaegut.