Abstract

This study examines the bibliographic characteristics, narrative development, spatial structure, and thematic consciousness of Wihyeonjeon, a relatively understudied work of classical Korean fiction. The novel recounts the heroic life of Wi Hyeon, the crown prince of Annamguk, and is particularly notable for its distinctive use of the spaces of Neungheodo and the underworld. Within the narrative, Neungheodo functions as a transitional and transformative space through which the protagonist travels to heaven, the underworld, the underwater palace, and the human world. Through these journeys, Wi Hyeon ultimately acquires divine objects, reunites with his father, marries, and achieves revenge. Furthermore, through Hoeryeonggung, located within Neungheodo, the work delivers a sharp critique of treacherous officials. Meanwhile, the underworld is portrayed as a realm in which hell and paradise coexist, thereby creating a striking contrast between corrupt ministers and loyal subjects. Through the setting of China represented under the guise of Annamguk, the gathering of loyal subjects in Hoeryeonggung for the purpose of eliminating traitorous officials, the juxtaposition of hell and paradise symbolizing suffering and happiness, and the narrator’s statement that “those who follow the principles of Heaven prosper, while those who defy them perish,” Wihyeonjeon consistently emphasizes the importance of upholding ethical values. In this respect, the work may be understood as reflecting the author’s intention to advocate for the restoration of deteriorating Confucian morality