These books, printed in Jeonju (referred to as "Wanpan bon" editions), fall in the "pansori novel" category.
[12] Although referred to as novels, many of these (especially Wanpan editions[13]) were virtually theatrical scripts in their style of writing,[14] in fact, they are not much different from the p'ansori libretti.
More like conventional novels, and written in the "literary style" (문장체; 文章體; munjang ch'e) are the Seoul editions.
A summary of the tale, common to both the Wanpan/Jeonju and Seoul editions, are as follows:[14][1][b] Long ago, northern Korea's Hwangju County had a district named Dohhwa-dong (도화동; 桃花洞; Tohwa ward), literally "Peach Blossom Village"[19]), where lived a destitute family descended from the yangban (noble) class.
She is later sent back up to the terrestrial world, contained inside a lotus flower, and is chosen as the new wife of the Chinese emperor of the Song dynasty.
[24] Although the versions of editions printed in Seoul tend to be relatively unpolished, Jeonju edition versions are more detailed and elaborate, featuring a variety of characters, including Lady Jang, Bbaengdeok's mother, Gwideok's mother, and Blind Hwang.
She becomes a more prominent character in the Jeonju editions and the version written by Sin Jae-hyo [ko] (신재효; 申在孝; Shin Chae-hyo, 1812–1884), and Sim Cheong's father also becomes more important in the plot.
[24] In relation to the appearance of Bbaengdeok's mother, the yangban culture is often discussed as an important aspect shown through Sim Cheong's father, who is depicted as a foolish man who becomes infatuated with a woman and squanders his fortune away.
Since there is mention of a jeongisu (professional storyteller) reading Sim Cheong-jeon in Chujaejip (秋齋集 Collected Writings of Chujae Jo Susam), written by Jo Susam (趙秀三, 1762–1847), scholars have concluded that Sim Cheong-jeon must have existed as a complete work in the 18th century.
[27] The folktale hypothesis stipulates that there must have existed a folk narrative (설화; 說話; seolhwa) about Sim Cheong early on.
Meanwhile, the folk narratives may have first developed into novel style, later printed in Seoul woodblock editions, then adapted to (modern) p'ansori, or so it has been explained by one commentator.
The Geotaji narrative (Samguk yusa, Book 2) contains closely similar motifs, such as the sacrifice being thrown into a pond, and the dragon transforming into a flower.