또 한편으로 심청은 세계와 대면할 때 주체적인 모습을 보이지 못하고, 또한 타자들에 의해 새로운 여성으로 규정됨으로써, 남성들의 질서와 권력에 예속되어 버리고 자기정체성을 상실하기에 이른다. 급기야는 현실세계의 부조리함과 폭력으로부터 벗어나고자 자신을 렌화, 로터스, 렌카로 분열시켜 살게끔 한다. 그러나 자신을 감금하고 처벌했던 세계로부터 벗어나고자 시도함으로써, 심청은 자아정체성을 획득하게 되고 궁극적으로는 연화보살이 되어 ‘자기’를 정립하게 된다.This paper starts with bringing up a question to the bygone studies that paid no attention to comparing the original text of ShimChung-Jeon and the parody while often measured a parody against another parody. Originally, a parody aims turning over or changing the existing value to a modern one through the exact understanding and interpretation of the original text. That is, if you only compare a parody to another parody, you can misunderstand the original text. Thus, in this article, I am about to study how Shim-Chung defines herself in the Classic ShimChung-Jeon and Hwang, Seok-Young's ShimChung, the latest parody of the original one.
Through ShimChung-Jeon and Hwang, Seok-Young's ShimChung, I take note of an aspect of parody, the changed image of Shim-Chung, the establishment of her femininity, and, finally, the definition of herself. There is a descriptive difference between the Classic ShimChung-Jeon and its parody ShimChung. In ShimChung, the illusionary place of the original text is turned out a modern and realistic one. The author criticizes the violence in the hidden side of his time reconstructing detailed space and time.
Shim-Chung does not show her independent Self. In addition, she becomes to be under the control of the order and the authority of men being destined for another woman by others. In the end, she makes herself to be Lenhwa, Lotus, and Lenka for getting out of the irrationality and the violence of reality. However, trying to free herself from the world that confined and punished her, Shim-Chung establishes her identity and, ultimately, defines her 'Self' becoming a lotus Buddhist.